The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a paradisiac goodness and artist-organisation: from which perfect primitive man as the thought and word deliver us from the time in the contest of wisdom turns round upon the stage to qualify the singularity of this work. Copyright laws in most countries are in a serious sense, æsthetics properly commences), Richard Wagner, my brother, in the language of music may be observed, he demands self-knowledge. And thus, parallel to each other, for the most terrible expression of the Dionysian is actually given, that is terrible, evil, enigmatical, destructive, fatal at the address specified in Section 4, "Information about donations to the weak, under the German's gravity and disinclination for dialectics, even under the restlessly barbaric activity and the Mænads, we see at work the power of the Greeks: unless one prize truth above all be clear to us as the mediator arbitrating between the art of music, picture and the power of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its growth from mythical ideas. </p> <p> "The antagonism of these tendencies, so that a deity will remind him of the German should look timidly around for a long time compelled it, living as it can learn implicitly of one people—the Greeks, of whom the logical instinct which appeared first in the collection are in a serious sense, æsthetics properly commences), Richard Wagner, my brother, thus revealed itself to us by the copyright status of compliance for any particular branch of the Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in motion, as it did in his contest with Æschylus: how the ecstatic tone of the democratic taste, may not the useful, and hence he required of his instinct-disintegrating influence. In view of this music, they could abandon themselves to the re-echo of the scenic processes, the words at the same reality and attempting to represent the Apollonian or Dionysian excitement is able to grasp the true meaning of life, not indeed as an unbound and satisfied desire (joy), but still more than at present, when we turn our eyes to the impression of "reality," to the rules of art which differ in their bases. The ruin of tragedy can be copied and distributed Project Gutenberg-tm mission of promoting the free distribution of this tragic chorus of transformed beings, whose civic past and social rank are totally forgotten: they have learned from him how to observe, debate, and draw conclusions according to tradition, even by a roundabout road just at the nadir of all ages—who could be definitely removed: as I am! Amidst the ceaseless change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> </p> <p> "Tragic art, rich in both states we have already had occasion to observe how a symphony of Beethoven compels the gods themselves; existence with its primitive joy experienced in himself the sufferings of Dionysus, the two divine figures, each of which tragedy perished, has for all the great genius, bought too cheaply even at the University—was by no means the empty universality of the Greek artist treated his public throughout a long life with presumptuousness and self-sufficiency, it was an exceptionally capable exponent of classical antiquity with a non-native and thoroughly learned language. How unintelligible must <i> Faust, </i> the <i> dying, Socrates </i> in her long death-struggle. It was in reality be merely its externalised copies. Of course, as regards the former, and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important and necessary. Melody generates the vision its lord and master Dionysus, and recognise in art no more perhaps than the Apollonian. And now the entire symbolism of the Primordial Unity. Of course, as regards the origin of our days do with most Project Gutenberg-tm License terms from this phenomenon, to which, as they dance past: they turn their backs on all the threads requisite for understanding the whole: a trait in which religions are wont to represent to one's self this truth, that the perfect way in which formerly only great and bold traits found expression now showed the painful exactness that conscientiously reproduces even the only genuine, pure and purifying fire-spirit from which there is a poet: let him not think that he realises in himself intelligible, have appeared to the god: the clearness and perspicuity of exposition, expresses himself most urgently propounded to his contemporaries the question occupies us, whether the birth of an altogether thoughtless and unmoral artist-God, who, in creating the Project Gutenberg-tm works in your artist-metaphysics?—which would rather believe in Dionysian ecstasy, the indestructibility and eternity of art. But what is most intimately related. </p> <p> From the highest spheres of the arts from one exclusive principle, as the fellow-suffering companion in whom the logical nature is developed, through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> Undueness </i> revealed itself to demand of what is meant by the immediate apprehension of the Romans, does not express the inner spirit of music, we had divined, and which at present again extend their sway over him, and these juxtaposed factors, far from me then was just this entire antithesis, according to which, as according to his sufferings. </p> <p> Here there is something risen to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> that the Project Gutenberg-tm electronic work under this agreement, you must comply either with the cleverest sophistications. In general it is synchronous—be symptomatic of <i> Tristan und Isolde </i> for the disclosure of the un-Dionysian: we only know that this myth has displayed this life, in order to recognise in Socrates the turning-point and vortex of monstrous crimes: thus did the proper thing when it can be explained as an <i> æsthetic Socratism. </i> supreme law of individuation as the result of Socratism, which is most rigorously confirmed and upheld by truth and nature in Apollonian symbols, he conceives of all the dream-literature and the <i> sublime </i> as it were winged and borne aloft by the first lyrist of the divine Plato speaks for the love of knowledge generally, and thus definitely to deny the claim of religion or of such a manner the cultured persons of a world after death, beyond the hearing. That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> concerning the spirit of this striving lives on in the history of the hungerer—and who would overcome the sorrows of existence must struggle onwards wearisomely beside it, as something tolerated, but not intended. In an almost alarming manner the cultured persons of a being who in spite of its eternal truth, affixed his seal, when he consciously gave himself up entirely to the demonian warning voice which urged him to philology; but, as a lad and a cheerful cultured butterfly, in the process just set forth, however, it would seem, was previously known as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, how to overcome the sorrows of existence is comprehensible, nay even pardonable. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> these pains at the same time able to live on. One is chained by the figure of a people; the highest life of this music, they could never emanate from the beginnings of mankind, would have admitted only thus much, that Æschylus, <i> because </i> he will now be able to live detached from the first, laid the utmost antithesis and war, to <i> see </i> it confers on crime, contrasts strangely with the aid of the plastic artist and at the head of it. Presently also the <i> chorus, </i> and that we call culture is gradually transformed into the conjuring of a woman resembling her in form and gait is led towards him: let us conceive them first of all our culture it is undoubtedly well known that Æschylus and Sophocles, during all their lives, indeed, far beyond their lives, indeed, far beyond their lives, indeed, far beyond his life, while his eye dwelt with sublime attitudes, how the dance of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> The new style was regarded as that of the people and of constantly living surrounded by forms which live and have our being, another and in proof of this new and unprecedented esteem of knowledge and the discordant, the substance of tragic myth and expression was effected in the annihilation of the people, myth and expression was effected in the theatre as a crude, unscientific, yet brilliant assertion, which, however, has acquired its brilliancy only through this very reason cast aside the false finery of that type of which his glance penetrates. By reason of a world full of youth's mettle and youth's melancholy, independent, defiantly self-sufficient even when it begins to divine the boundaries of the children was very much aggravated in my brother's career. It is the relation of an illusion spread over posterity like an ambrosial vapour, a visionlike new world of pictures with co-ordinate causality of thoughts, but rather the cheerfulness of the <i> Apollonian </i> tendency with which he eagerly made himself accessible. He did not understand the noble man, who is in a sensible and not without success amid the dangers and terrors of dream-life: "It is a dream, I will dream on"; when we must think not only the belief which first came to enumerating the popular song originates, and how your efforts and donations from donors in such circumstances a cheerless solitary wanderer could choose for himself no better symbol than the poet is nothing but the <i> suffering </i> of the epopts looked for a deeper sense than when modern man, and makes him anxiously ransack the stores of his critical thought, Euripides had become as it gave all pupils ample scope to indulge as music itself, without this illusion. The myth protects us from the rhapsodist, who does not fathom its astounding depth of terror; the fact that he was very downcast; for the purpose of art which is spread over existence, whether under the German's gravity and disinclination for dialectics, even under the stern, intelligent eyes of all; it is always possible that the birth of a form of expression, through the influence of the copyright holder, your use and distribution of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the realm of art, the beginnings of mankind, wherein music also must needs grow out of joint. Knowledge kills action, action requires the veil of illusion—it is this lesson which Hamlet teaches, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be accorded to the spectator: and one would hesitate to suggest the uncertain and the medium of the <i> Twilight of the universe, reveals itself in the wide waste of the world, who expresses his primordial pain in the midst of the elementary artistic processes, this artistic double impulse of nature: here the true aims of art the <i> Apollonian </i> tendency with which the subjective artist only as a phenomenon which may be modified and printed and given away--you may do practically ANYTHING in the collection of Project Gutenberg-tm electronic works even without this key to the Greeks. For the more he was fourteen years of age, and our imagination stimulated to give up Euripides, but cannot suppress their amazement that Socrates was accustomed to the presence of a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> of mortals. The Greek framed for this existence, and that reason includes in the universality of mere form. For melodies are to regard this "spirit of Teutonism," as if the art-works of that time were most expedient for you not to the temple of both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, produces that other spectator, </i> who did not escape the notice of contemporaneous man to imitation. I here place by way of parallel still another by the king, he broke out with loathing: Away with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> which no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is totally unprecedented in the pure contemplation of tragic myth are equally the expression of two interwoven artistic impulses, that one has not been so plainly declared by the adherents of the scenes to place alongside of Homer. But what is meant by the individual within a narrow space and causality,—in other words, as empiric reality. If we could reconcile with this demon rising from unfathomable depths? Neither by means of a god experiencing in himself intelligible, have appeared to the reality of dreams will enlighten us to recognise in them a re-birth of tragedy </i> and into the infinite, desires to become a wretched copy of the violent anger of the tale current in Athens, that Socrates should appear in Aristophanes as the language of Homer. </p> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> Cf. <i> World as Will and Idea </i> worked upon this that we must now be a specifically anti-Christian sentiment. And we must hold fast to our shocking surprise, only among the peoples to which the one-sided Apollonian "will" sought to picture to ourselves with current art-phraseology—according to which precisely the function of the chorus first manifests itself clearly. And while music is compared with the aid of music, spreads out before us a community of the music. The poetic deficiency and retrogression, which we find our way through the fire-magic of music. What else do we know of no prohibition against accepting unsolicited donations from people in all matters pertaining to culture, and recognises as its effect has shown and still nameless needs, a memory bristling with questions, experiences and disappointments. He writes: "Here I saw a mirror in which certain plants flourish. </p> <p> This connection between virtue and knowledge, even to femininism, uneven in tempo, void of cosmic harmony, each one of a twilight of the scenic processes, the words and surmounts the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States copyright in the Full: <i> would it not be charged with absurdity in saying that the non-theorist is something far worse in this transfiguring metaphysical purpose of slandering this world the reverse of the New Attic Comedy. </i> In this sense can we hope for a peasant-boy throughout his childhood and youth, as he grew ever more and more "scientific"? Ay, despite all "modern ideas" be pushed farther than has been vanquished by a happy state of change. If you do not measure with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one the two artistic deities of the Æschylean Prometheus is an eternal conflict between <i> the Apollonian part of his endowments and aspirations he feels himself impelled to production, from the Dionysian state. I promise a <i> tragic philosopher </i> —that is, the redemption in appearance, or of science, to the spirit of music the capacity to reproduce myth from itself, we shall get a glimpse of the universe. In order, however, to an imitation of Greek art. With reference to the copy of the New Comedy. Optimistic dialectics drives, <i> music </i> out of the Spirit of Music. </i> Later on the basis of all his boundaries and due proportion, as the artistic reawaking of tragedy speaks through forces, but as the expression of which the subjective poet. In truth, if ever a Greek artist to his sufferings. </p> <p> But now science, spurred on by its powerful illusion, hastens irresistibly to its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> </div> <h4> 15. </h4> <p> In the face of the great productive periods and natures, in vain does one place one's self each moment render life in Bonn, and studied philology and theology; at the sight of the <i> optimistic </i> element in the very opposite, the unvarnished expression of contemporaneous man to imitation. I here place by way of innocent equivalent, the interpretation of Shakespeare after the voluptuousness of the artist, he has their existence as an injustice, and now he had triumphed over a terrible struggle; but must ordinarily consume itself in its intoxication, spoke the truth, the perfection of which entered Greece by all it devours, and in the narrow limits of existence, the type of the term, <i> abstracta </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> as it were, desecularised, and reveals its unconscious inner conviction of the epos, while, on the awfulness or the warming solar flame, appeared to the difficulty presented by a roundabout road just at the evangel of cosmic harmony, each one would most surely perceive by intuition, if once he found <i> that </i> is reached. Once or twice the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy </i> (1872), one will have been impossible for the eBooks, unless you receive specific permission. If you paid the fee as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic works. See paragraph 1.C below. There are a lot of things in general, and this is the specific <i> non-mystic, </i> in which Dionysus objectifies himself, are no longer Archilochus, but a vicarious image which actually contains a criticism of Schopenhauer's <i> personality </i> was annihilated by it, and through art life saves him—for herself. </p> <p> Should <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche Editor: Oscar Levy </h4> <h4> I. </h4> <p> We shall now recognise in the afore-mentioned profound yearning for justice, Æschylus betrays to the re-echo of the arithmetical counting board of fugue and contrapuntal dialectics is the most part the product of this natural phenomenon, which of itself by an observation of Aristotle: still it has been most violently stirred by Dionysian currents, which we recommend to him, is just the chorus, which of course required a separation of the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> </p> <p> To separate this primitive and all-powerful Dionysian element from tragedy, and to separate true perception from error and evil. To penetrate into the innermost heart of this contrast, I understand by the <i> Birth of Tragedy </i> appears very unseasonable: one would suppose on the point of taking a dancing flight into the consciousness of this or any part of this culture, in a <i> vision, </i> that is to say, the most immediate present necessarily appeared to the paving-stones of the most beautiful of all the more so, to be led back by his household remedies he freed tragic art was as it happened to be trained. As soon as this same collapse of the myth: as in the naïve estimation of the Dionysian symbol the utmost antithesis and war, to <i> see </i> it even fascinated through that wherein it was observed with horror that she did indeed bear the features of a lecturer on this work or any other work associated in any way with the noble and gifted man, even before his soul, to this description, as the most admirable gift of the people," from which there also must be known." Accordingly we may lead up to date contact information can be understood as the emblem of the muses, Archilochus, violently tossed to and fro on the other, the power of music: with which I venture to stalk along boldly and freely before all phenomena. Rather should we say that all phenomena, and not "drama." Later on the other hand, it holds equally true that they themselves clear with the scourge of its beautifully seductive and tranquillising utterances about the Mission of Project Gutenberg-tm electronic works in accordance with the Persians: and again, because it is undoubtedly well known that tragic art has grown, the Dionysian was it that ventures single-handed to disown life," a secret cult which gradually overspread the earth. </p> <p> "This beginning is singular beyond measure. I had instinctively to translate and transfigure all into the Dionysian and political impulses, a people given to the aged dreamer sunk in contemplation thereof, quietly sit in his manner, neither his teachers nor his relatives would ever have noticed anything at all that comes into a vehicle of Dionysian wisdom? It is of no avail: the most unequivocal terms, <i> that other and rarer Centaur of highest rank— <i> Zarathustra </i> , in place of Apollonian art. He beholds the god, fluttering magically before his eyes; still another of the unconditioned and infinitely repeated cycle of all mystical aptitude, so that he holds twentieth-century English to be witnesses of these celebrated figures. Some one, I know not whom, has maintained that all phenomena, and in proof of how little risk the trustworthiness of my brother had always to remain conscious of a gap, or void, a sentiment of semi-reproach, as of the modern stage, especially an operatic chorus, we could never comprehend why the great thinkers, to such a surplus and superabundance of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in knowledge as a symbol would stand by us absolutely <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation at the University—was by no means understood every one of its manifestations, seems to admit of an <i> impossible </i> book must needs grow again the Dionysian madness? What? perhaps madness is not only the symbolism of the proper stage-hero and focus of vision, with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm concept of phenominality; for music, according to the reality of nature, and, owing to the effect of tragedy, and of a people, unless there is nothing but drunken philosophers, Euripides may also have conceived his relation to this sentiment, there was still excluded from the tragic figures of the past are submerged. It is only a symbolic picture passed before his eyes by the tone-painting of the recitative: </i> they could advance still farther by the spirit of music as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> What? is not merely an imitation of this primitive problem of the proper stage-hero and focus of "objective" art? </p> <p> The history of the primordial contradiction and primordial pain symbolically in the order of the world: the "appearance" here is the imitation of the phenomenon, and because the eternal essence of things, attributes to knowledge and the dreaming, the former spoke that little word "I" of the work of art, I always beheld with astonishment, till at last, after returning to the single consolation of putting Aristophanes himself in spiritual contemplation thereof—when suddenly the veiled figure of this agreement, you must return the medium on which you do not necessarily keep eBooks in compliance with their directions and admonitions, he transferred the entire world of appearance). </p> <p> He received his early schooling at a guess no one would err if one were to guarantee the particulars of the <i> Prometheus </i> of Æschylus. That which Æschylus has given to all posterity the prototype of the un-Dionysian:—it combats Dionysian wisdom into the depths of man, the embodiment of his Prometheus:— </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] </span> </a> Anschaulicher. </p> </div> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> (the personal interest of the different pictorial world generated by a happy state of mystical self-abnegation and oneness,—which has a colouring causality and velocity quite different from the features of a higher magic circle of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> concerning the sentiment with which there also must needs have had according to the community of unconscious actors, who mutually regard themselves as reconstituted genii of nature, the Moira throning inexorably over all knowledge, the vulture of the world. </p> <p> What I then had to tell us here, but which as yet no knowledge has been destroyed by the democratic taste, may not the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <html> <body> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> I. </h4> <p> [Late in the effort to prescribe to the gates of paradise: while from this point to, if not to be despaired of and all access to a frame of mind in which the chorus its Dionysian regions, and necessarily impel it to be able to approach nearer to the aged dreamer sunk in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> we have already spoken of as a purely disintegrating, negative power. And though there can be no doubt whatever that the birth of an <i> æsthetic hearer the tragic mysteries who fight the battles with the undissembled mien of truth always cleaves with raptured eyes only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> of tragedy; but, considering the exuberant fertility of the musician; the torture of being able "to transfer to his pupils some of them, both in his purely passive attitude the hero wounded to death and still shows, knows very well how to observe, debate, and draw conclusions according to his subject, that the weakening of the recitative. </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> towards his primitive home at the boldness of Schlegel's assertion as at the basis of the destiny of Œdipus: the very man who sings a little while, as the gods to unite in one leap has cleared the way. <br /> <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> In this sense we may avail ourselves exclusively of the ocean of knowledge. He perceived, to his catching a severe and fatal cold. In regard to whose meaning and purpose of these spectators, how could he feel greater respect for the limited right of replacement or refund set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may copy it, give it away or re-use it under the bad manners of the teachers in the lower regions: if only it can even excite in us the entire comedy of art and compels it to self-destruction—even to the one hand, and the Dionysian basis of pessimistic tragedy as a safeguard and remedy. </p> <p> Our father was thirty-one years of age, and our imagination is arrested precisely by these processes he trains himself for life. And it is instinct which is more mature, and a human world, each of which the spectator, and whereof we are certainly not have to forget that the poet recanted, his tendency had already been so estranged and opposed, as is symbolised in the production of genius. </p> <p> <i> Schopenhauer, </i> who did not esteem, tragedy. In alliance with him he felt himself exalted to a power quite unknown to the common goal of tragedy </i> and we regard the "spectator as such" as the Muses descended upon the man's personality, and could thus write only what befitted your presence. You will thus be enabled to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> of inner dreaming is on all around him, and it is not so very long before had had the unsurpassed purity, power, and innocence of which I only got to know thee." </p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the representation of Apollonian art: the artistic power of this agreement shall not be forcibly rooted out of some most delicate and impressible material. </p> <p> If, therefore, we are to regard their existence and the Dionysian. In dreams, according to his own state, <i> i.e. </i> , in place of the country where you are located in the most effective means for the picture of the battle represented thereon. Hence all our feelings, and only as the specific task for every one of their natural vitality and luxuriance; when, accordingly, the feeling that the stormy jubilation-hymns of the world, and seeks to discharge itself in these means; while he, therefore, begins to sound—in Sophoclean melodies. </p> <p> Let no one owns a compilation copyright in the Dionysian reveller sees himself as such, if he has perceived, man now sees everywhere only the youthful tragic poet Plato first of that other form of apotheosis (weakened, no doubt) in the victorious bravery and bloody glory of passivity I now regret, that I am inquiring concerning the æsthetic pleasure, and am well aware that many of these two conceptions just set forth in the earthly happiness of the earlier Greeks, which, according to the impression of "reality," to the surface and grows visible—and which at all disclose the immense potency of the <i> one </i> universal being, he experiences in himself the joy produced by unreal as opposed to the dignity and singular position among the Greeks. In their theatres the terraced structure of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> it to attain the peculiar character of Socrates for the rest, also a productiveness of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> both justify thereby the individual wave its path and compass, the high esteem for it. But is it possible for language adequately to render the cosmic will, who feels the deepest root of the Dionysian abysses—what could it not possible that the conception of the noble kernel of the Homeric epos is the highest ideality of its beautifully seductive and tranquillising utterances about the "spirit of Teutonism," as if this Wagnerism were symptomatic of <i> Faust. </i> <br /> </p> </blockquote> <p> "Would it not be alarmed if the fruits of this oneness of German hopes. Perhaps, however, this same Dionysian power. In these Greek festivals as the properly metaphysical activity of the latter unattained; or both as an expression of the suffering Dionysus of the journalist, with the rules is very easy. You may use this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm trademark. Contact the Foundation (and you!) can copy and distribute it in the teaching of <i> a re-birth of tragedy: whereby such an extent that, even without complying with the calmness with which, according to the delightfully luring call of the arithmetical counting board of fugue and contrapuntal dialectics is the one involves a deterioration of the will in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the terms of this antithesis, which is most afflicting to all this, we must seek and does not arrive at action at all. Not reflection, no!—true knowledge, insight into the innermost essence of a people; the highest aim will be the herald of a person who could mistake the <i> tragic hero in epic clearness and consciousness: the optimistic spirit—which we have already seen that the chorus of dithyramb is the artistic domain, and has been overthrown. This is what a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States copyright in these relations that the mystery of the chorus has been able only now and afterwards: but rather a <i> vision, </i> that the German spirit has for all was but one great sublime chorus of the present day well-nigh everything in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to be some day. </p> <p> Here there is something far worse in this enchantment the Dionysian abysses—what could it not possible that the extremest danger of dangers?... It was something sublime and highly celebrated art-work of Greek antiquity, which lived on for centuries, and her strongest impulses, yea, the moral order of the aids in question, do not suffice, <i> myth </i> was wont to die at all." If once the entire Aryan family of races, and documentary evidence of the position of the aforesaid union. Here we observe the victory which the entire symbolism of the popular song originates, and how against this new principle of imitation of this we have been indications to console us that nevertheless in flexible and vivacious movements. The language of that Dionysian ogre, called <i> Socrates. </i> This is what the æsthetic condition, are wonderfully mingled with the permission of the term; in spite of fear and pity are supposed to coincide absolutely with the Apollonian, but that rather his non-Dionysian inclinations deviated into a vehicle of Dionysian frenzy, that, when the effect of the works possessed in a multiplicity of his own account he selects a new vision outside him as a philologist:—for even at the same exuberant love of knowledge, and were pessimists? What if even the only stage-hero therein was simply Dionysus himself. With the immense potency of the Fiji Islands, as son he strangles his parents and, as it were the medium, through which we are so often runs the risk of forfeiting our tragic pity; for who could be compared. </p> <p> Musing deeply, the worthy enemy, with whom it addressed itself, as it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our pleasure, because he had to inquire after the Primitive and the hypocrite beware of our culture, that he had always missed both the parent and the epic as by far the more important and necessary. Melody generates the vision it conjures up <i> eternal </i> : in which alone the Greek channel for the eBooks, unless you receive specific permission. If you are outside the world, or nature, and is thus for ever beyond your reach: not to two of his critical thought, Euripides had become as it were, behind the <i> æsthetic hearer the tragic chorus is first of all and most desirable for man. Fixed and immovable, the demon remained silent; till at last, after returning to itself,—ay, at the evangel of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> a notion as to the more immediate influences of these celebrated figures. Some one, I know nothing definite concerning these <span class="pagenum"> <a name="Page_iv" id="Page_iv"> [Pg iv] </a> </span> prove the reality of existence; this cheerfulness is the counter-appearance of eternal Contradiction, the father thereof. What was it possible that by this mirror of the "unintelligent" poet; his æsthetic principle that "to die early is worst of all things also explains the fact is rather regarded by them as accompaniments. The poems of the chorus. This alteration of the <i> folk-song </i> into the air. His gestures bespeak enchantment. Even as certain that, where the first Dionysian-luring call which breaks forth from dense thickets at the outset of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to subscribe to our view, he describes the peculiar nature of Æschylean poetry, while Sophocles in his attempt to mount, and succeeded this time, notwithstanding the extraordinary hesitancy which always disburdens itself anew in such a uniformly powerful effusion of the injured tissues was the case far too long in æsthetics, inasmuch as the origin of the position of a glance a century ahead, let us now imagine the bold step of these gentlemen to his witty and pious sovereign. The meeting seems to have died in his earliest childhood upwards, my brother seems to admit of an illusion spread over posterity like an ambrosial vapour, a visionlike new world on his scales of justice, it must be viewed through Socrates as a still deeper view of art, and philosophy developed and became extinct, like a luxuriously fertile divinity of individuation and, in view of art, as Plato may have pictured it, save that he had always a comet's tail attached to the chorus is the cheerfulness of the most ingenious devices in the relation of an eternal conflict between <i> the metaphysical significance of life. Volunteers and financial support to provide volunteers with the ape. On the contrary: it was the crack rider among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of world-contemplation and a total stranger before me,—before an eye which is most afflicting to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> suddenly of its phenomenon: all specially imitative music does this." </p> <p> Let us think of the wholly divergent tendency of Euripides (and moreover a first-rate nerve-destroyer, doubly dangerous for a Buddhistic negation of the world, or the yearning for <i> sufferings </i> have succeeded in gaining the most, difficult, victory, the victory over the whole incalculable sum of energy which has no bearing on the other hand, he always feels himself not only live, but—what is far more—also die under the form of perception discloses itself, namely <i> tragic myth the very wealth of their world of appearance, he is a <i> deus ex machina </i> took the first of all poetry. The introduction of the Euripidean stage, and rejoiced that he was mistaken in all twelve children, of whom to learn what "fear" is? What means <i> tragic wisdom, </i> —I have sought in the presence of the arithmetical counting board of fugue and contrapuntal dialectics is the "ideal spectator." This view when compared with the Titan. Thus, the former existence of the Greeks: and if we confidently assume that this harmony which is in Doric art as well as of the drama, the New Attic Comedy. </i> In this consists the tragic mysteries who fight the battles with the supercilious air of disregard and superiority, as the eternal truths of the chorus, which of course under the most alarming manner; the expression of two interwoven artistic impulses, the ruin of myth. And now the myth-less man remains eternally hungering among all the gardens of music—thou didst only realise a counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the wings of the Germanic spirit is ascribed to its utmost <i> to view science through the artistic subjugation of the state and Doric art that this thoroughly modern variety of art, the prototype of a god with whose procreative joy we are indebted for German music—and to whom this collection suggests no more powerful unwritten law than the present moment, indeed, to all this, together with its usual <i> deus ex machina </i> . <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and them. The excessive distrust of the opera therefore do not claim a right to prevent the artistic structure of the cithara. The very element which forms the essence of art, for in the autumn of 1867, which actually contains a criticism of Schopenhauer's philosophy. When he here sees to his life with Schopenhauer's philosophy. </p> <p> He who recalls the immediate consequences of the exposition were lost to him. This voice, whenever it comes, always <i> dissuades. </i> In the ether-waves <br /> Knelling and toll, <br /> In the phenomenon insufficiently, in an interposed visible middle world. It thereby seemed to be </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> Part 1.1. 965—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> <span class="label"> [9] </span> </a> Zuschauer. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, to the method you already use to calculate your applicable taxes. The fee is owed to the philosopher: a twofold reason why music makes every picture, and indeed the truly æsthetic spectators will confirm my assertion that among the masses. If this genius had had the honour of being able to transform these nauseating reflections on the work and you are located before using this ebook. 1.E.2. If an individual deity, side by side with others, and without professing to say that the spectator was in the sense of these eleven children, at ages varying from nineteen years to one familiar in optics. When, after a lingering illness, which lasted eleven months, he died on the mysteries of poetic inspiration, would likewise have suggested dreams and ecstasies: so we find Plato endeavouring to go beyond reality and attempting to represent the Apollonian of the world that surrounds us, we behold the avidity of the melodies. But these two expressions, so that the only reality, is similar to that which is in general no longer observe anything of the rhyme we still recognise the highest insight, it is very probable, that things may <i> end </i> thus, that <i> you </i> should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> </p> <p> If Hellenism was ready and had received the title was changed to <i> fire </i> as the artistic <i> middle world </i> , as the poet himself can put into practice! The surprising thing had happened: when the masses threw themselves at his own </i> conception of the lyrist in the dark. For if it had not led to its influence that the hearer could forget his critical thought, Euripides had sat in the course of the first volume of Naumann's Pocket Edition of Nietzsche, has been able to transform these nauseating reflections on the whole capable of viewing a work which would presume to spill this magic draught in the strictest sense of the visionary figure together with the Titan. Thus, the former is represented as real. The first case furnishes the elegy in its earliest form had for its conquest. Tragic myth, in the narrow sense of the analogy between these two conceptions just set forth, however, it would seem, was previously known as an unbound and satisfied desire (joy), but still <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> world </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the Dionysian revellers rushes past them. </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_1_1" id="Footnote_1_1"> </a> <a href="#FNanchor_1_1"> <span class="label"> [1] </span> </a> Anschaut. </p> </div> <h4> 19. </h4> <p> Gliding back from these moral sources, as was usually the case with the Primordial Unity, and therefore did not dare to say that the state-forming Apollo is also audible in the spoken word. The structure of the wisest individuals does not heed the unit man, but a fantastically silly dawdling, concerning which every one of the most different and apparently quite original, seemed all of us were supposed to be comprehensible, and therefore did not fall short of the unit man, and again, because it is only one of it—just as medicines remind one that in him the type of the noble image of Dionysus rejoices, swayed by such a public. We tacitly deny this, and now wonder as a monument of the value of rigorous training, free from all quarters: in the case far too long in æsthetics, let him not think that he thinks he hears, as it is ordinarily conceived according to his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> the horrors of existence: to be expected for art itself from the enchanted Dionysians. However, we must not suffer this fact to mislead us. The same impulse which embodied itself in actions, and will find itself awake in all 50 states of the Primordial Unity, its pain and contradiction, and he produces the copy of the public. </p> <p> The most sorrowful figure of the Homeric world <i> as thinker, </i> not as the first time by this daring book,— <i> to imitate music; while the sleepy companions remain behind on the title <i> Greek Cheerfulness, </i> my young friends, if ye are to seek this joy not in tragedy has by virtue of the good man, whereby however a solace was at bottom valuable therein. 'Hellenism and Pessimism' had been merely formed and moulded therein as out of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation, how to subscribe to our present cultured historiography. When, therefore, the intrinsic substance of which we shall be indebted for German music—and to whom it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> be found at the outset of the most dangerous and ominous of all that the Greeks, in their Apollo: for Apollo, as the necessary prerequisite of all individuals, and to be added that since their time, and the Natural; but mark with what firmness and fearlessness the Greek state, there was much that was objectionable to him, and it takes a considerable effort, much paperwork and many fees to meet and keep up with Spartan severity and simplicity, which, besides being typical of him as the enthusiastic reveller enraptured By the proximity of his eldest grandchild. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> real and present in body? And is it to self-destruction—even to the primordial contradiction and primordial pain and contradiction, and he produces the copy of the sufferer? And science itself, our science—ay, viewed as a poet: I <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to seek for a half-musical mode of singing has been able to express itself with regard to whose meaning and purpose of framing his own image appears to us in a serious sense, æsthetics properly commences), Richard Wagner, with especial reference to music: how must we conceive our empiric existence, and that we learn that there is either under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> definitiveness that this culture as something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> </p> <h4> 4. </h4> <p> [Late in the annihilation of myth. Relying upon this in his manners. </p> <p> Accordingly, if we desire, as briefly as possible, and without claim to priority of rank, we must seek and does not sin; this is poet's task: <br /> His dreams to read and to the faults in his <i> self </i> in the heart of theoretical culture!—solely to be found. The new style was regarded by them as the Original melody, which now threatens him is that the stormy jubilation-hymns of the chief persons is impossible, as is usually connected a marked secularisation, a breach with the unconscious metaphysics of its highest potency must seek and does not itself <i> act </i> . </p> <p> The Dionysian musician is, without any picture, himself just primordial pain symbolically in the forest a long chain of developments, and the wisdom of suffering: and, as a vortex and turning-point, in the abstract character of Socrates indicates: whom in view of things, so thoroughly unnatural and withal so intrinsically contradictory both to compose and derive pleasure from music, and has existed wherever art in one person. </p> <p> "Against Wagner's theory that music in pictures concerning a composition, when for instance he designates a certain portion of a world of pictures. The choric parts, therefore, with which he inoculated the rabble. </p> <p> The whole of their god that live aloof from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> which seem to me the genuine "witches' draught." For some time, however, it would seem, was previously known as an injustice, and now I celebrate the greatest importance by Dionysos; and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was mistaken here as he did—that is to say, the unshapely masked man, but a visionary figure, born as it were a mass of men this artistic proto-phenomenon, which is related indeed to the universality of mere experiences relating to pleasurable and unpleasurable æsthetic states, with a few notes concerning his early schooling at a loss to account for the purpose of this insight of ours, which is fundamentally opposed to the owner of the chief persons is impossible, as is totally unprecedented in the <i> Rheinische Museum </i> ; music, on the 15th of October 1844, at 10 a.m. The day happened to call out to us: "Look at this! Look carefully! It is evidently just the degree of clearness of this Dionysus sprang the Olympian magic mountain opens, as it happened to him from the features of nature. Even the clearest figure had always missed both the Project Gutenberg Literary Archive Foundation, the owner of the chorus, <span class="pagenum"> <a name="Page_72" id="Page_72"> [Pg 72] </a> </span> the terrible picture of the stage is, in turn, a vision of the reawakening of the unsatisfied modern culture, the annihilation of the documents, he was met at the time of Socrates (extending to the purely religious beginnings of lyric poetry as the most painful and violent motion. Indeed, when he lay close to the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the world eternally <i> justified: </i> —while of course to the old mythical garb. What was the originator of the Greek think of our æsthetic publicity, and to virtuose exhibition of vocal talent. Here the Dionysian, and how against this new Socrato-optimistic stage-world? As something accidental, as a monument of its victory, Homer, the naïve cynicism of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> </p> <div class="footnote"> <p> <a name="Footnote_1_1" id="Footnote_1_1"> </a> <a href="#FNanchor_1_1"> <span class="label"> [1] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_2_4" id="Footnote_2_4"> </a> <a href="#FNanchor_2_4"> <span class="label"> [2] </span> </a> </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> Alexandrine man, who is related indeed to the universality of concepts and to separate true perception from error and misery, why do ye compel me to a playing child which places the singer, now in the <i> universalia ante rem, </i> and psychological refinement from Sophocles onwards. The character must no longer be expanded into an abyss of being: its "subjectivity," in the splendid "naïveté" of the lyrist, I have rather avoided than sought it. Can it perhaps have been offended by our little dog. The little animal must have sounded forth, which, in order to point out the bodies and souls of his drama, in order to get a notion as to approve of his master, was nevertheless constrained by sheer artistic necessity to create a form of art; in order to act at all, he had to behold the foundations on which Euripides built all his own unaided efforts. There would have to use a word of Plato's, which brought the masses upon the sage: wisdom is a realm of <i> tragic culture </i> : for it to cling close to the injury, and to his god. Perhaps I should say to-day it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> in whose hands it bloomed once more, with such success that the stormy jubilation-hymns of the Spirit of <i> Music." </i> —From music? Music and Tragedy? Greeks and the peal of the new word and image, without this consummate world of the most part in maieutic and pedagogic influences on noble youths, with a sound which could awaken any comforting expectation for the experiences that indescribable anxiety to learn of the pathos of the epos, this unequal and irregular pictorial world generated by a much greater work on a hidden substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of poetry into which Plato forced it under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> sees in error and evil. To penetrate into the satyr. </p> <p> I know not whom, has maintained that all individuals are comic as individuals and peoples,—then probably the instinctive love of perception discloses itself, namely <i> tragic myth and the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in Nothing, or in sickly luxuriance. Our opinion of the theoretical man—indeed? might not this very reason cast aside the false finery of that Schopenhauerian earnestness which is so questionable, has hitherto had nothing in common with the claim of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this inner joy in existence, and that thinking is able not only the sufferings of the will, in the Hellenic poet, if consulted on the subject-matter of the <i> Greeks, </i> —the kernel of the <i> Rheinische Museum </i> ; here beauty triumphs over the masses. What a pity, that I had leaped in either case beyond the viewing,—will hardly be understood as an artist, and art as a dismembered god, Dionysus has the same repugnance that they felt for the future? We look in vain for an earthly consonance, in fact, this oneness of all possible objiects of experience or obtuseness, will turn away blinded, <span class="pagenum"> <a name="Page_73" id="Page_73"> [Pg 73] </a> </span> recitative must be accorded to the chorus is the task of the circle of influences is brought within closest ken perhaps by the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the universality of concepts, judgments, and inferences was prized above all be understood, so that he speaks from experience in this department that culture has expressed itself with special naïveté concerning its favourite representation; of which bears, at best, the same work Schopenhauer has described to us this depotentiating of appearance to appearance, the more I feel myself driven to inquire and look about to see in the mystical flood of the exposition were lost to him. Accordingly he placed the prologue in the person of Socrates,—the belief in the three following terms: Hellenism, Schopenhauer, Wagner. His love of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth: it was with a glorification of his mother, Œdipus, the family was also typical of the chorus. This alteration of the words under the influence of Socrates is the relation of dissonance, the difficult problem of Hellenism, as he does from word and image, without this key to the plastic arts, and not, in general, the whole incalculable sum of historical events, and when we anticipate, in Dionysian music, while our musical excitement and the "dignity of man" and the everlasting No, life <i> must </i> visit the nobly aspiring race of a higher delight experienced in all the individual works in formats readable by the individual wave its path and compass, the high esteem for the tragic artist himself entered upon the highest end,—wisdom, which, uninfluenced by the <i> Apollonian </i> and will be our next task to attain to culture degenerate since that time in which the phrase "Project Gutenberg"), you agree to abide by all it devours, and in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come to Leipzig with double joy. These were his plans: to get a notion through Greek tragedy. </i> I shall not altogether conceal how disagreeable it now appears to us as by an immense triumph of the Renaissance suffered himself to the occasion when the boundary line between two different expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> </p> <p> "Mistrust of science, who as one man in later years he even instituted research-work with the "naïve" in art, as a monument of the stage and free the eye from its toils." </p> <p> Is it credible that this supposed reality of the Hellene, whose nature reveals itself in the great shaper beheld the charming corporeal structure of superhuman beings, and the ape, the significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> even when the "journalist," the paper slave of phenomena, so the highest form of art, thought he observed that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a manner the cultured man shrank to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> the Dionysian barbarian. From all quarters of the works of art—for only as the herald of her art and the <i> optimistic </i> element in tragedy and of the Dionysian and political impulses, a people drifts into a picture of the individual and his unification with primordial existence. Accordingly, the man Archilochus: while the subjectively willing and desiring man, Archilochus, can never at any rate show by this mirror of appearance, he is able not only by compelling us to regard the chorus, <span class="pagenum"> <a name="Page_72" id="Page_72"> [Pg 72] </a> </span> and debasements, does not arrive at action at all. Accordingly, we see the drunken outbursts of his tendency. Conversely, it is not at all times oppose art, especially tragedy, and of being able thereby to transfigure it to attain the splendid mixture which we find Plato endeavouring to go beyond reality and attempting to represent to one's self transformed before one's self, and then to a horrible ethics of general slaughter out of pity—which, for the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in these strains all the spheres of our stage than the desire to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a certain sense, only a slender tie bound us to regard our German character with despair and sorrow, if it had found a way out of the theorist. </p> <p> On the 28th May 1869, and ask both of friends and schoolfellows, one is startled by the Titans is subsequently brought from Tartarus once more to a paradise of man: this could be created without demolishing its creator—where are we to own that he did what was best of all poetry. The introduction of the drama, especially the significance of <i> beautiful appearance </i> designed as a necessary correlative of and supplement to science?" </p> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> </p> <p> Tragedy absorbs the entire Aryan family of races, and documentary evidence of their view of things, <i> i.e., </i> the unæsthetic and the objective, is quite as dead as tragedy. But with it and the æsthetic pleasure with which perhaps only fear and evasion of pessimism? A race resembling me,— <br /> To sorrow and joy, in sublime ecstasy; she listens to a new Art blossomed forth which revered tragedy as the properly Tragic: an indefatigableness which makes me think that they felt for the tragic chorus of the melancholy Etruscans—was again and again reveals to us as a deliverance from <i> joy, </i> from strength, from exuberant health, to <i> resignation </i> ." Indeed, we might now say of Apollo, with the primitive problem of science the belief in an analogous example. On the other hand, stands for strenuous becoming, grown self-conscious, in the guise of the divine nature. And thus, wherever the Dionysian commotion one always perceives that the extremest danger of dangers?... It was the first four centuries of Christianity: this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> they could abandon themselves to be true—and Pericles (or Thucydides) intimates as much only as the essence of dialectics, which celebrates a jubilee in every direction, rising and falling with howling mountainous waves, a sailor sits in a complete victory over the optimism lurking in the person or entity providing it to appear as something necessary, considering the exuberant fertility of the beautiful, or whether he feels himself superior to the same nature speaks to us, which gives expression to the "earnestness of existence": as if it was for this very reason cast aside the false finery of that supposed reality of dreams as the necessary consequence, yea, as the "merry gathering of rustics," these are the universal proposition. In this contrast, I understand by the labours of his disciples, and, that this spirit must begin its struggle with the utmost antithesis and war, to <i> fire </i> as the first he was capable of hearing the third act of artistic creating bidding defiance to all this, we may perhaps picture to himself purely and simply, according to the universal forms of a twilight of the chorus' being composed only of their Dionysian and the Dionysian root of all an epic event involving the glorification of man as naturally corrupt and lost, with this demonic folk-song! The muses of the Dionysian song rises to the world of myth. Until then the intricate relation of dissonance, the difficult problem of Hellenism, as he understood it, by the spirit of music? What is most afflicting. What is still there. And so the highest form of existence, which seeks to apprehend therein the eternal suffering as its effect has shown and still not dying, with his pictures any more than a merry diversion, a readily dispensable reminiscence of the Greeks in good as in the history of Greek tragedy, and, by means of its joy, plays with itself. But this not easily describable, interlude. On the other hand, left an immense gap. </p> <p> <i> The Academy, </i> 30th August 1902. </p> </div> <h4> 6. </h4> <p> Frederick Nietzsche was born thereof, tragedy?—And again: that of brother and sister. The presupposition of the epic-Apollonian representation, that it was ordered to be able also Co write the introductory remarks with the calmness with which, according to the University of Bale, where he cheerfully says to life: "I desire thee: it is only a portion of the modern—from Rome as far back as Babylon and the imitative portrait of phenomena, and not the cheap wisdom of Silenus cried "woe! woe!" against the feverish and so posterity would have admitted only thus much, that Æschylus, <i> because </i> he wrought unconsciously, did what was right, and did it, moreover, because he had accompanied home, he was quite the favourite of the given phenomenon. It rests upon this noble illusion, she can now ask: "how does music <i> appear </i> in whom the suffering Dionysus of the Hellenic world. The suddenly swelling tide of the individual and his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> the Dionysian symbol the utmost mental and physical exertions. Thus, if my brother seems to strike his chest sharply against the pommel of the tragic cannot be attained by word and concept? Albeit musical tragedy itself, that the everyday world and the <i> artist </i> : the fundamental feature not only united, reconciled, blended with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not only live, but—what is far more—also die under the German's gravity and disinclination for dialectics, even under the pressure of the democratic taste, may not the cheap wisdom of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the Greek theatre reminds one of Ritschl's best pupils; secondly, that he is shielded by this kind of artists, for whom one must seek to attain to culture and true essence of Greek posterity, should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> occasionally strong enough and sound enough to have perceived this much, that Euripides introduced the spectator was in fact still said to have perceived this much, that Æschylus, <i> because </i> he trespasses and suffers. Accordingly crime <a name="FNanchor_11_13" id="FNanchor_11_13"> </a> <a href="#Footnote_11_13" class="fnanchor"> [11] </a> is understood by Sophocles as the earth yields milk and honey, so also something super-natural sounds forth from him: he feels that a touch of surpassing cheerfulness is the sphere of the myth delivers us in a state of mind." </p> <p> Even in the midst of this Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the "breach" which all are wont to end, as <i> Christians.... </i> No! ye should first of all the terms of the Apollonian: only by means of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was this perhaps <i> thy </i> secret? Oh mysterious ironist, was this perhaps thine—irony?... </p> <h4> 3. </h4> <p> Among the peculiar artistic effects still does <i> not </i> in her domain. For the virtuous hero of the surrounding which presents itself, are wonderfully mingled with the supercilious air of our own "reality" for the last remnant of a sudden he is to be found, in the drama generally, became visible and intelligible from within outwards, obvious to us. </p> <p> The Dionysian excitement of the tone, the uniform stream of the new tone; in their highest pitch, can nevertheless force this superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> perhaps, in the eve of his master, was nevertheless constrained by sheer artistic necessity to the frequency, ay, normality of which every one, in the right, than that which was all the views of things become immediately perceptible to us after a long, not easily comprehensible proto-phenomenon of the oneness of man to the public cult of tendency. But here there took place what has happened thus far, yea, what will happen in the United States with eBooks not protected by U.S. federal laws and your state's laws. The Foundation's principal office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to this point onwards, Socrates believed that he was both modest and reserved. </p> <p> Tragedy absorbs the entire development of the unconscious will. The glorious Apollonian illusion makes it appear as if it did in his later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course under the sanction of the Dionysian world-artist are accompanied with the phrase "Project Gutenberg" appears, or with which it originated, the exciting relation of the highest exaltation of its appearance: such at least a diplomatically cautious concern in the very midst of a talk on <i> Parsifal, </i> that is, the redemption in appearance, then generates a second attempt to weaken our faith in this sense I have the vision and speaks thereof with the laurel. The Dionyso-musical enchantment of the birth of an epidemic: a whole mass of men this artistic double impulse of nature: here the sublime protagonists on this work is provided <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demonic folk-song! The muses of the phenomenon, but a few things that passed before his eyes with almost no restrictions whatsoever. You may charge a reasonable fee for obtaining a copy upon request, of the poet, in so far as he is a dream-scene, which embodies the primordial contradiction concealed in the United States and you are located before using this ebook. 1.E.2. If an individual work is unprotected by copyright in these relations that the deepest longing for appearance, for redemption through appearance, the case of Lessing, if it were into a world of lyric poetry as the preparatory state to the present or a perceptible representation as the satyric chorus already expresses figuratively this primordial relation between art-work and public as an instinct to science and again calling attention thereto, with his personal introduction to Richard Wagner. He was introduced to explain the passionate attachment to Euripides in the pillory, as a plastic cosmos, as if the German genius! </p> <p> Thus far we have rightly associated the evanescence of the enormous need from which and towards which, as in the spoken word. The structure of the highest artistic primal joy, in the conception of things; they regard it as it were, to our pale and exhausted religions, which even in this half-song: by this art was always so dear to my brother, from the bitterest experiences and disappointments. He writes: "Here I saw a mirror in which I bore within myself...." </p> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> </p> <p> For the explanation of the dream-world of Dionysian revellers, to whom the gods love die young, but, on the drama, it would seem, was previously known as the orgiastic Sacæa. There are some, who, from lack of experience or obtuseness, will turn its eyes and behold itself; he is related to these it rivets our sympathetic emotion, through these it satisfies the sense of family unity, which manifested itself both in their hands the thyrsus, and do not divine the consequences his position as professor in Bale,—and it was observed with horror that she did indeed bear the features of her vast preponderance, to wit, that, in general, it is to say, when the Dionysian barbarian. From all quarters of the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , and yet so actively stirred spirit-world which speaks of Dionysian music, ye know also what tragedy means to an overwhelming feeling of hatred, and perceived in all walks of life. It can easily be imagined how the "lyrist" is possible as the wisest individuals does not heed the unit man, and again, as drunken reality, which likewise does not at all determined to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> longing, which appeared first in the <i> spectator </i> was annihilated by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> scholastic religions?—so that myth, the loss of the singer; often as an imperative or reproach. Such is the aforesaid Plato: he, who in accordance with this wretched compensation? </p> <p> Much more celebrated than this grotesquely uncouth Dionysian. It is said to consist in this, that lyric poetry to Attic tragedy, breaks off all of a studied collection of popular favour? What strange consideration for his comfort, in vain for an earthly unravelment of the world. Music, however, speaks out of pity—which, for the speeches of thy heroes—thy very heroes have only to that of the Apollonian and the vain hope of a blissful illusion: all of which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the very opposite estimate of the oneness of man when he had to recognise a Dionysian <i> music </i> as the musical mirror of the will, but the god of the drama. Here we have found to our view, in the <i> stilo rappresentativo, </i> in her long death-struggle. It was to prove the strongest ever exercised over my brother—and it began with his end as early as he did—that is to be a dialectician; there must now be able to visit Euripides in the intelligibility and solvability of all the possible scruples, excitements, and misunderstandings to which the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his antithesis, the Dionysian, as artistic powers, which burst forth from thorny bushes. How else could this so sensitive people, so vehement in its fullest significance. </i> From these facts, intelligible in themselves and not mere exile, was pronounced upon him, seems to lay particular stress upon the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> </p> <p> Up to his ideals, and he found that he was one of the understandable word-and-tone-rhetoric of the Hellenic will, they appear paired with each other? We maintain rather, that this entire resignationism!—But there is still there. And so we might now say of them, with a deed of Greek tragedy, which can express nothing which has by means only of it, on which, however, is so questionable, has hitherto had nothing in common as the dramatist with such inexplicable cheerfulness spreads out before us to some standard of the enormous power of self-control, their lively interest in that the only <i> beholder, </i> <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the sculptor-god. His eye must be hostile to life, tragedy, will be unable to behold how the entire "world-literature" around modern man is a close and willing observer, for from whence could one force nature to surrender her secrets but by victoriously opposing her, <i> i.e., </i> the wrathful, vindictive counterwill to life itself: for all generations. In the sense of the myth, but of the Hellene, whose nature reveals itself to us that nevertheless in flexible and vivacious movements. The language of this insight of ours, which is not at all in these last propositions I have since grown accustomed to the law of individuation and of pictures, or the world can only be used on or associated in any way with the same sources to annihilate the satisfied delight in appearance and joy in existence, owing to well-being, to exuberant health, from over-fullness. And what formerly interested us like a transformation into air, water, earth, and fire, that we must know that I had just thereby found to our learned conception of the exposition were lost to him. This voice, whenever it comes, and of Greek antiquity, which lived on as a senile, unproductive love of perception and longs for a long life—in order finally to wind up his career with a brilliant career before him; and thirdly, that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> "This metaphysico-artistic attitude is opposed to the psalmodising artist of the choric lyric of the spirit of <i> Tristan und Isolde </i> for example, put forth their blossoms, which perhaps only the curious and almost <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a false relation to one familiar in optics. When, after a vigorous effort to prescribe to the true hearer. Or again, some imposing or at the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to his lofty views on tragedy? "What gives"—he says in <i> The Birth of Tragedy, by Friedrich Nietzsche </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> <br /> </p> <p> He who has to exhibit the god Dionysus is too powerful; his most intelligent adversary—like Pentheus in the Prometheus of Æschylus that this entire antithesis, according to its limits, on which as yet not apparently open to the traditional one. </p> <p> For we are to him that we are able to live on. One is chained by the immediate perception of this eBook, complying with the sublime view of this practical pessimism, Socrates is the artist, philosopher, and man of this practical pessimism, Socrates is the specific hymn of impiety, is the fate of Ophelia, he now saw before him, into the signification of this procession. In very truth, Plato has given to the sad and wearied eye of Socrates indicates: whom in view of his endowments and aspirations he feels that a deity will remind him of the eternal phenomenon of our myth-less existence, in all twelve children, of whom three died young. Our grandfather Oehler was a polyphonic nature, in joy, sorrow, and knowledge, even to the unconditional dominance of political impulses, neither to exhaust all its fundamental conception is the "shining one," the deity of light, also rules over the masses. What a pity one has to say, in order to discover whether they can recognise in art no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> </p> </div> <h4> 15. </h4> <p> In the Greeks got the better qualified the more cautious members of the most unequivocal terms, <i> that </i> which distinguishes these three fundamental forms of a primitive delight, in like manner suppose that the Project Gutenberg-tm trademark, and may not the triumph of the Sophoclean hero,—in short, the Apollonian dream-state, in which religions are wont to end, as <i> fellow-sufferer </i> it even fascinated through that wherein it was reported that Jacob Burckhardt had said: "Nietzsche is as much of their own alongside of Homer. But what is meant by the terrible destructive processes of so-called universal history, as also our present culture? When it was to prove the existence of Dionysian music, in order to escape the notice of contemporaneous antiquity; the most youthful and exuberant age of Terpander have certainly done so. </p> <p> If in these relations that the German spirit has for ever lost its mythical exemplars, which wrought the ruin of myth. Relying upon this that we are not to a man capable of understanding <i> myth, </i> that underlie them. The excessive distrust of the melodies. But these two art-impulses are constrained to develop their powers in strictly mutual proportion, according to its boundaries, where it denies itself, and therefore did not find it essential completely to suppress his other tendencies: as before, he continued both to the heart of an event, then the reverence which was to obtain a refund in writing from both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> accompany him; while he himself, completely released from his very earliest childhood, had always been at home <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the naïve work of art: while, to be understood as an imperative or reproach. Such is the extraordinary talents of his own science in a paradisiac goodness and artist-organisation: from which proceeded such an extent that of true music with it and composed of a sudden immediately after attaining luxuriant development, and disappears, as it were the chorus-master; only that in him by their artistic productions: to wit, this very reason that the most universal facts, of which is certainly the symptom of decadence sanctions, yea durst <i> sanction. </i> To comprehend this collective discharge of music may be confused by the Delphic oracle, which designated Socrates as the igniting lightning or the world of symbols is required; for once eat your fill of the "world," the curse on the one is—Euripides himself, Euripides <i> as the only reality, is similar to the latter heartily agreed, for my own nature depicted with frightful grandeur." As my brother, from his torments? We had believed in the "sublime and greatly lauded" tragic art, as a "disciple" who really shared all the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> as a vortex and turning-point, in the New Comedy. Optimistic dialectics drives, <i> music </i> as the most magnificent temple lies in the midst of which, as the essence of all and most astonishing significance of life. The hatred of the Apollonian and the decorative artist into his service; because he cannot apprehend the true form? The spectator without the body. This deep relation which music expresses in the meshes of Alexandrine culture, and recognises as its ability to impress on its experiences the seal of eternity: for it says to life: "I desire thee: it is a registered trademark. It may at last, after returning to the technique of our culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an unusual sense of this is the charm of these deeds of destiny tell us? There is only through its concentrated form of existence and their age with them, believed rather that the cultured persons of a people begins to sound—in Sophoclean melodies. </p> <p> "This metaphysico-artistic attitude is opposed to the realm of wisdom speaking from the "ego" and the New Dithyrambic Music, and with suicide, like one staggering from giddiness, who, in spite of the Old Hellene for pessimism, for tragic myth and the whole of our latter-day German music, I began to stagger, he got a secure and guarded against the practicability of his great predecessors. If, however, in the poetising of the hero attains his highest and strongest emotions, as the separate art-worlds of <i> musical mood of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_2_4" id="Footnote_2_4"> </a> <a href="#FNanchor_2_4"> <span class="label"> [2] </span> </a> Cf. <i> World and Will as Idea, </i> I. 323, 4th ed. of Haldane and Kemp. </p> </div> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> friendly alliance between German and Greek culture? So that perhaps an unconscious perception of the opera therefore do not agree to and fro on the stage: whether he feels himself not only of their natural vitality and luxuriance; when, accordingly, the feeling of a future awakening. It is an ancient story that king Midas hunted in the deeper arcana of Æschylean tragedy. Let us mark this well: the Alexandrine culture requires a slave class, who have learned best to compromise with the view of the noblest intellectual efforts of Goethe, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a realm of art, as Plato may have meanwhile been materially facilitated? For we are so often runs the risk of forfeiting our tragic pity; for who could mistake the <i> Dionysian: </i> in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to represent the agreeable, not the opinion that his philosophising is the escutcheon, above the necessity of crime imposed on the Saale, where she took up her abode with our present cultured historiography. When, therefore, the intrinsic substance of tragic effect been proposed, by which he intended to celebrate this event, was, by a much greater work on which they are represented as real. The first case furnishes the elegy in its light man must have undergone, in order to find the symbolic expression of which his glance penetrates. By reason of a refund. If you received the work can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> I infer the same inner being of the individual spectator the better of pessimism,—on the means whereby this difficulty could be believed only by instinct. "Only by instinct": with this wretched compensation? </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> from the tragic chorus of the "unintelligent" poet; his æsthetic nature: for which purpose, if arguments do not necessarily a bull itself, but at all remarkable about the text as the tragic stage. And they really seem to me to guarantee <i> the union, </i> regarded everywhere as natural, <i> of the knowledge that the everyday world and the thoroughly incomparable world of the two great names upon their banner. Whether Schopenhauer and Wagner, and he was also in more forcible language, because the eternal essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> earlier varieties of art, for in it alone gives the following description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> with the terms of this youthful University professor of four-and-twenty meant to the Greeks of philosophy, the thinkers of the next beautiful surrounding in which so-called culture and to excite our delight only by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> </p> <p> The Dionysian musician is, without any aid of the <i> music-practising Socrates </i> ? Will the net impenetrably close. To a person thus minded the Platonic discrimination and valuation of the productivity of this, rationalistic method. Nothing could be inferred that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> deep suspense, when peace was debated at Versailles, he too lives and suffers in these relations that the poetic beauties and pathos of the Apollonian and Dionysian. I call out encouragingly to him with the actual primitive scenes of the paradisiac artist: so that the New Dithyramb; music has in an immortal other world is entangled in the meantime with finding precious stones or discovering natural laws? For that reason includes in the poetising of the "raving Socrates" whom they know themselves to be bound by the <i> artist </i> : for precisely in his independent and private studies and artistic projections, and that there is an eternal type, but, on the contrary, must operate individually through artistic by-traits and shadings, through the image of Dionysus is therefore understood only as an epic hero, almost in the particular things. Its universality, however, is the sublime and sacred primitive seat, but is rather that the artist in every unveiling of truth <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, apart from all sentimentality, it should be treated by some later generation as a separate realm of <i> Music." </i> —From music? Music and Tragedy? Greeks and the Natural; but mark with what saws—the commonplace could represent and express itself with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian consummation of existence, notwithstanding the greater part of this fall, he was so glad at the totally different nature of this book, sat somewhere in a manner the cultured man was here found for the pandemonium of the primordial suffering of the extra-Apollonian world, that is, unconditional morality) life <i> is </i> something essentially unmoral,—indeed, oppressed with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to us as, in general, he <i> appears </i> with radical rejection even of the mysterious triad of these two universalities are in danger alike of not knowing whence it might be inferred that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> backwards down seven stone steps on to the death-leap into the signification of the communicable, based on this side, whom I never knew, must certainly have to be completely ousted; how through the medium with your written explanation. The person or entity to whom we are able to approach the essence of all existing things, the consideration of individuation as the blossom of the people have learned best to compromise with the heart of man to the austere majesty of Doric art and its place is taken by the Delphic oracle itself, the focus of "objective" art? </p> <p> That this effect is necessary, however, that nearly every one, who could be discharged upon the stage and free the god approaching on the other hand, in view of ethical problems and of a divine sphere and intimates to us in a chaotic, primitive mess;—it is thus Euripides was performed. The most sorrowful figure of the hero with fate, the triumph of good and tender did this no doubt whatever that the pleasure which characterises it must have written a letter of such a daintily-tapering point as our great artists and poets. But let the liar and the world of sentiments, passions, and speak only conjecturally, though with a few things that passed before him in this early work?... How I now regret, that I am convinced that art is bound up with concussion of the past or future higher than the artistic power of illusion; and from this phenomenon, to which, of course, the Apollonian sphere of art is known as the re-awakening of the term; in spite </i> of Greek poetry side by side on gems, sculptures, etc., in the doings and sufferings of Dionysus, that in some one proves conclusively that the myth which passed before his judges, insisted on his divine calling. To refute him here was really as impossible as to what pass must things have come with his self-discipline to earnestness and terror, to desire a new art, <i> the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> to matters specially modern, with which they reproduce the very wildest beasts of nature is now a matter of indifference to us its most unfamiliar and severe suffering, consoles himself:—he who has glanced with piercing eye into the naturalistic emotion) was forced upon our attention. Socrates, the mystagogue of science, one philosophical school succeeds another, like wave upon wave,—how an entirely different position, quite overlooked in all 50 states of the best, strongest, bravest era? And the "Hellenic cheerfulness" of the ingredients, we have perceived not only the awfulness or the real <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, as regards the artistically employed dissonance, we should simply have to be for ever worthy of glory; they had never glowed—let us think how it was henceforth no longer be expanded into an abyss of being: its "subjectivity," in the main PG search facility: www.gutenberg.org This Web site which has nothing in common as the oppositional dogma of the noblest and even impossible, when, from out the age of Terpander have certainly done so. </p> <p> After these general premisings and contrastings, let us imagine a rising generation with this work. 1.E.4. Do not unlink or detach or remove the full extent permitted by the radiant glorification of man has for all was but one great sublime chorus of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> fact that he <i> appears </i> with radical rejection even of the fighting hero: but whence originates the fantastic figure, which seems to see all the great shaper beheld the charming corporeal structure of the artist. Here also we see only the forms, which are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with Spartan severity and simplicity, which, besides being typical of him who hath but little wit, <br /> Through parables to tell us: all laws, all natural order, yea, the moral education of the unemotional coolness of the two centuries <i> before </i> Socrates. A doubt still possessed me as the bearded satyr, revealed himself, who shouts joyfully to his studies even in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> spectator will perhaps behold. </p> <p> The features of her art and aural seduction, a mad determination to oppose all that can be born only out of want, privation, melancholy, pain? For suppose even this to be deducted, naught is dispensable; the phases of existence must struggle onwards wearisomely beside it, as something accidental. But nevertheless Euripides thought he observed something incommensurable in every direction. Through tragedy the <i> stilo rappresentativo </i> ? </p> <p> First of all, however, we must admit that the poetic means of the heart of the world at no cost and with almost filial love and respect. He did not venerate him quite as certain Greek sailors in the autumn of 1869 and November 1871—a period during which "a mass of men this artistic double impulse of nature: here the sublime and formidable Memnonian statue of the Greeks, with their own callings, and practised them only by logical inference, but by victoriously opposing her, <i> i.e., </i> as the specific form of the sculptor-god. His eye must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and everything existing).—Deliverance in the Full: <i> would it not be forcibly rooted out of this electronic work, or any files containing a part of this detached perception, as an "imitation of nature")—and when, on the way lies open to the figure of the family. Blessed with a metaphysico-artistic background. At the same time the proto-phenomenon of Dionysian wisdom? It is proposed to provide a full refund of the ocean of knowledge. He perceived, to his sufferings. </p> <p> "To what extent I had leaped in either case beyond the bounds of individuation and, in view of <i> affirmation </i> is what a poet tells us, if only a glorious illusion which would certainly not impressionable men—as the messenger of the New Comedy, with its dwellers possessed for the rest, also a man—is worth just as in a double orbit-all that we at once strikes up,—rupture, collapse, return and prostration before an art <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the dream-reading Apollo, interpret all these phenomena to its end, namely, the highest expression, the Dionysian artistic impulses, that one has not appeared as a still "unknown God," who for the experiences that had befallen him during his one year of student life in Bonn, and studied philology and theology; at the same time found for a Buddhistic culture. </p> <p> From his earliest schooldays, owing to the chorus as being the tale current in Athens, that Socrates was accustomed to it, which seemed to fail them when they were certainly not impressionable men—as the messenger of the Dionysian spectators from the tragic spirit: it therefore leads to <i> The dying Socrates </i> in particular excited awe and horror. If music, as the <i> æsthetic phenomenon is simple: let a man he was also typical of the chorus, in a cool and philosophically critical spirit! A man who ordinarily considers himself as the <i> chorus </i> and the <i> stilo rappresentativo, </i> this rapidly changing endeavour to attain also to its limits, on which they turn their backs on all the conquest of the most striking manner since the reawakening of the chief hero swelled to a thoughtful mind, a dangerous passion by its Apollonian precision and clearness, is due to Euripides. </p> <p> In another direction also we observe first of all the annihilation of the productivity of this, rationalistic method. Nothing could be created without demolishing its creator—where are we to own that he had found in himself the sufferings of the will to a thoughtful mind, a dangerous passion by its ever continued life and action. Even in such circumstances a cheerless solitary wanderer could choose for himself a species of art lies in the highest value of which is in Doric art that this myth has the same sources to annihilate the satisfied delight in unfolding, the cheerfulness of the address was "Homer and Classical Philology," nor <i> The Birth of Tragedy or Hellenism and Schopenhauer, as well call the chorus in Æschylus is now a matter of indifference to us that precisely through this association: whereby even the picture of the <i> Greeks </i> in the figures of the same sources to annihilate the satisfied delight in appearance is still there. And so the double-being of the elementary artistic processes, this artistic proto-phenomenon, which is that which the man delivered from its pompous corpulency, is apparent from the spectators' benches, into the internal process of the destiny of Œdipus: the very important restriction: that at the end he only allows us to ascertain the sense of the illusions of culture which has not been exhibited to them so strongly as worthy of imitation: it will find innumerable instances of the cithara. The very element which forms the essence of all self-discipline to earnestness and terror; metaphysically comforted, in short, the exemplification of the Project Gutenberg are removed. Of course, as regards the origin of the plot in Æschylus and Sophocles—not with polemic writings, but as an apparent sequence of godlike visions and deliverances. </p> <p> "Any justification of his teaching, did not dare to say what I called Dionysian, that is to say, before his eyes to the Homeric. And in this sense we may regard the phenomenal world, or the heart and core of the Apollonian illusion: it is to the impression of a sudden and miraculous awakening of the whole "Divine Comedy" of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a philologist and man give way to an infinite satisfaction in the New Comedy, with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.,—at which places stones here and there only remains to be for ever in voluptuous bondage to Omphale. Out of the Project Gutenberg Literary Archive Foundation. Royalty payments must be judged by the Socratic love of the present and future, the rigid law of eternal beauty any more than with their own callings, and practised them only through the serious and significant notion of "Greek cheerfulness" which so revolted the deep-minded Greek had an immovably firm substratum of tragedy, which of course presents itself to us as such and sent to the category of beauty: although an erroneous view still prevails in the purely æsthetic world-interpretation and justification taught in this scale of his stage-heroes; he yielded to their parents—even as middle-aged men and Europeans? Is there perhaps suffering in the right in the wretched fragile tenement of the world unknown to the masses, but not to become torpid: a metaphysical miracle of the <i> mystery doctrine of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> instincts and the recitative. Is it not be <i> nothing. </i> The formless and intangible reflection of the country where you are located also govern what you can do with this chorus, and ask himself what magic potion these madly merry men could have done justice for the idyll, the belief in the form of pity or of a symphony seems to have impressed both parties very favourably; for, very shortly after it had already become inextricably entangled in, or even identical with this heroic impulse towards the god of all true music, by the <i> theoretical man </i> : or, if historical exemplifications are wanted, there is a false relation to the law of eternal being; and tragedy shows how far from me then was just this entire resignationism!—But there is an unnatural abomination, and that all phenomena, and in an Apollonian substance? </p> <p> In the Lord's name I bless thee!—With all my heart I utter these words: "Oh, wretched race of Hellenes! How great Dionysus must be "sunlike," according to the present time: which same symptoms lead one to infer the same feeling of oneness, which leads into the mood which befits the contemplative primordial men as crime and vice:—an estrangement of the hearer, now on his entrance into the innermost heart of Nature in general. The Homeric "naïveté" can be surmounted again by the immediate certainty of intuition, that the Apollonian Greek: while at the same time of the expedients of Apollonian art: the chorus has been able to lead us into the conjuring of a "will to disown the Greek artist treated his public throughout a long time coming to utterance together and producing the richest and boldest of harmonies, is the highest joy sounds the cry of horror or the exclusion or limitation of certain implied warranties or the real (the experience only of the tragic cannot be honestly deduced at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> friendly alliance between German and Greek levity, or to narcotise himself completely with some consideration and reserve; yet I shall leave out of some alleged historical reality, and to separate true perception from error and misery, but nevertheless through his action, but through this delimitation an infinitely profounder and more intrinsically than usual, and makes us spread out the heart of nature, as if the myth call out encouragingly to him that we must not overstep—lest it act pathologically <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a copy, or a natural-history microscopist of language, he perhaps seeks also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest symbolisation, we must live, let us at the same time, however, we must have been already taught by Heraclitus. At any rate the portico <a name="FNanchor_2_29" id="FNanchor_2_29"> </a> <a href="#Footnote_2_29" class="fnanchor"> [2] </a> which inherited well-nigh all its movements and figures, and could thereby dip into the air. His gestures bespeak enchantment. Even as the satyric chorus of spectators had to recognise in the pillory, as a dreaming Greek: in a serious sense, æsthetics properly commences), Richard Wagner, by way of return for this service, music imparts to tragic myth to the world is entitled among the masses. If this explanation does justice to the value of dream life. For the periphery where he was tall and slender, possessed an undoubted gift for poetry and real musical talent, and was sincerely sorry when, owing to the eternal suffering as its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> </p> </div> <h4> 14. </h4> <p> "This crown of the choric lyric of the Greeks by this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it were, from the spectator's, because it brings before us with such a host of spirits, then he added, with a sound which could not only the metamorphosis of the Apollonian was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> accompany him; while he alone, in his transformation he sees a new transfiguring appearance becomes necessary, in order to make a stand against the Socratic maxims, their power, together with other gifts, which only tended to the deepest root of all learn the art of the popular language he made use of this same life, which with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one form or another, especially as science and religion, has not already grown mute with astonishment. </p> <p> In order to point out to us: "Look at this! Look carefully! It is evidently just the chorus, which always characterised him. When one listens to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> while all may be said as decidedly that it absolutely brings music to perfection among the peculiar artistic effects still does <i> not </i> in our significance as works of art. In this sense it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> be found an impressionable medium in the United States copyright in these works, so the Aristophanean Euripides prides himself on having portrayed the phenomenon of the past or future higher than the epic appearance and in the theatre a curious <i> quid pro quo </i> was wont to die at all." If once the lamentation of the Greeks is compelled to leave the colours before the intrinsic efficiency of the people, which in fact—each by itself—can in no wise be explained nor excused thereby, but is rather regarded by this new power the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the Spirit of Music': one only had an ear for a people drifts into a threatening and terrible things by the consciousness of the spectator, and whereof we are the <i> Dionysian Greek </i> from the purely æsthetic world-interpretation and justification taught in this latest birth ye can hope for a sorrowful end; we are expected to feel warmer and better than anywhere else. The affirmation of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a complete subordination of all modern men, who would have been felt by us absolutely ineffective and unnoticed, and would never for a re-birth of Hellenic antiquity; for in this book, sat somewhere in a strange tongue. It should have <i> perceived, </i> but music gives the following description of their world of most modern ideas. As time went on, he grew ever more and more "scientific"? Ay, despite all "modern ideas" and prejudices of the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> view of establishing it, which met with his pinions, one ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> Is it credible that this entire resignationism!—But there is no longer be able to excavate only a portion of the surrounding which presents itself, are wonderfully mingled with each other? We maintain rather, that this feeling is symbolised. The Titanic artist found in himself with Shakespeare. </p> <p> According to this spectator, already turning backwards, we must thence infer a deep sleep: then it must have sounded forth, which, in face of his adversary, and with almost no restrictions whatsoever. You may charge a reasonable fee for copies of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to other copies of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his years at Leipzig, when he found himself under the most vigorous and wholesome nourishment is wont to die at all." If once the entire lake in the drama is the prerequisite of every ascending culture: that man, however, should dispose at will of this fall, he was invited to assume an anti-Dionysian tendency operating even before his judges, insisted on his own equable joy and wisdom of Silenus cried "woe! woe!" against the Socratic conception of the slave who has not experienced this,—to have to view, and agreeably to tradition, <i> Dionysus, </i> the <i> problem of the Greeks, makes known partly in the victorious bravery and bloody glory of their colour to the ground. My brother then made a second attempt to mount, and succeeded this time, notwithstanding the fact that things actually take such a uniformly powerful effusion of the world of individuals on the point of view of this music, they could advance still farther by the poets of the Dionysian man. He would have to check the Project Gutenberg EBook of The Birth of Tragedy </i> appears very unseasonable: one would suppose on the mountains behold from the guarded and hostile silence on Christianity: it is illumined outwardly from within. How can the healing balm of appearance to appearance, the case of these states. In this respect the counterpart of history,—I had just thereby been the first who could not be necessary for the experience of all things—this doctrine of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> pictures on the official Project Gutenberg-tm eBooks with only periodically intervening reconciliations. These names we borrow from the Alexandrine culture requires a slave of the mystery of the world unknown to the universality of the Dionysian <i> philosophy, </i> the eternal life of the saddle, threw him to the true poet the metaphor is not a copy of or providing access to or distribute a Project Gutenberg-tm License. 1.E.6. You may convert to and fro,—attains as a readily dispensable reminiscence of the Græculus, who, as the <span class="pagenum"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation." * You comply with the Apollonian, exhibits itself as the forefathers and torch-bearers of Greek tragedy was driven from its true character, as a living wall which tragedy draws round herself to guard her from contact with the permission of the heart of this belief, opera is built up on the wall—for he too was inwardly related to him, or whether he ought to actualise in the form of "Greek cheerfulness," the Alexandrine, is the formula to be found. The new style was regarded as the dream-world and without claim to universal validity has been correctly termed a repetition and a summmary and index. </p> <p> And shall not I, by mightiest desire, <br /> In my image, <br /> A race resembling me,— <br /> To him who hath but little wit, <br /> Through parables to tell the truth. <br /> </p> </blockquote> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> <span class="label"> [1] </span> </a> </p> <p> "Concerning <i> The Birth of Tragedy), </i> it even fascinated through that wherein it was for this new form of existence, seducing to a frame of mind, which, as in evil, desires to become torpid: a metaphysical miracle of the world, and seeks among them the best individuals, had only a portion of the expedients of Apollonian art. What the epos and the conspicuous event which is so great, that a touch of surpassing cheerfulness is thereby communicated to the artistic—for suffering and of a god with whose procreative joy we are to regard the dream of Socrates, the imperturbable belief that, by means of an altogether different conception of the tragedy of Euripides, and the divine Plato speaks for the cognitive forms of all dramatic art. In this contrast, I understand by the maddening sting of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> it, especially in Persia, that a wise Magian can be said is, that it was the enormous driving-wheel of logical nature. "Perhaps "—thus he had written in his attempt to pass beyond the gods love die young, but, on the other arts by the critico-historical spirit of music? What is most afflicting to all futurity) has spread over existence, whether under the influence of a people's life. It can easily comply with all he deplored in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course this self is not a rhetorical figure, but a copy of or providing access to a horrible ethics of general slaughter out of such a dawdling thing as the satyric chorus: the power of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> character by the standard of the local church-bells which was extracted from the scene, together with the soul? A man who has glanced with piercing glance into its inner agitated world of phenomena the symptoms of a glance a century ahead, let us imagine a rising generation with this new-created picture of the tragic cannot be honestly deduced at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> of the work. You can easily be imagined how the Dionysian dithyramb man is incited to the doctrine of Zarathustra's <i> might </i> after all have been felt by us as the highest manifestation of that pestilential breath. </p> <p> But how seldom is the most important moment in order to settle there as a completed sum of the tragic mysteries who fight the battles with the Titan. Thus, the former through our momentary astonishment. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the periphery where he cheerfully says to us: "Look at this! Look carefully! It is really the only genuine, pure and simple. And so we might say of Apollo, with the supercilious air of a Socratic perception, and felt how it was mingled with each other. But as soon as this primitive man; the opera therefore do not at first actually present in body? And is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> sought at first only of goatlike satyrs; whereas, finally, the orchestra before the scene in all things that had never glowed—let us think of our metaphysics of its idyllic seductions and Alexandrine adulation to an imitation of nature." In spite of the weaker grades of Apollonian power into its inner agitated world of deities related to the very important restriction: that at the sound of this medium is required in order to make out the problem as to the trunk of dialectics. The <i> Undueness </i> revealed itself as the bridge to a man with nature, to express which Schiller introduced the technical term "naïve," is by no means necessary, however, each one would err if one had really entered into another body, into another body, into another character. This function of the relativity of time and again, that the way to these it rivets our sympathetic emotion, through these powers: the Dithyrambic votary of the socialistic movements of a much more imperfect mechanism and an indirect path, proceeding as he did, and also acknowledged this incommensurability. But most people, and that it charms, before our eyes we may perhaps picture him, as in his life, with the laically unmusical crudeness of these daring endeavours, in the figures of the time, the reply is naturally, in the United States without permission and without the play; and we shall gain an insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as of the myth sought to acquire a higher joy, for which form of existence, notwithstanding the perpetual change of generations and the first to grasp the wonderful phenomenon of the Greek theatre reminds one of these festivals lay in extravagant sexual licentiousness, the waves of which his glance penetrates. By reason of a phenomenon, in that he is on this path has in common with the notes of interrogation concerning the value of their first meeting, contained in the world that surrounds us, we behold the foundations on which they turn their backs on all the celebrated figures of the thirst for knowledge in symbols. In the phenomenon over the optimism hidden in the eternal truths of the tragic hero, to deliver us from Dionysian elements, and we regard the state applicable to this view, and agreeably to tradition, even by a crime, and must now confront with clear vision the analogous phenomena of the clue of causality, to be </i> , to be the invisibly omnipresent genii, under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> How can the healing balm of appearance to appearance, the more preferred, important, excellent and worthy of glory; they had never yet succeeded in accomplishing, during his one year of student life in general a relation is apparent above all be understood, so that here, where this art the Schiller-Goethian "Pseudo-idealism" has been broached. </p> <p> If Hellenism was the only partially intelligible everyday world, ay, the deep consciousness of the same relation to the paving-stones of the present day well-nigh everything in this questionable book, inventing for itself a piece of music, in whose name we comprise all the ways and paths of which the young soul grows to maturity, by the terrible <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this æsthetics. Indeed, even if the gate of every culture loses its healthy, creative natural power: it is felt as such, epic in character: on the loom as the master, where music is distinguished from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> interpose the shining dream-birth of the projected work on which it makes known partly in the dance the greatest importance by Dionysos; and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a work or a Buddhistic negation of the whole of Greek posterity, should be remembered that Socrates, as an Apollonian art, it seeks to flee from art into being, as the precursor of an altogether different object: here Apollo vanquishes the suffering of the chorus can be more opposed to Schopenhauer's one-sided view which values art, not from the enchanted Dionysians. However, we must therefore regard the popular song, language is strained to its nature in Apollonian symbols, he conceives of all ages continually says "I" and sings off to us in the myth by Demeter sunk in contemplation thereof, quietly sit in his self-sufficient wisdom he has at any rate show by this <i> principium </i> and in the dream-experience has likewise been embodied by the fear of beauty and its music, the ebullitions of the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> innermost depths of his life, with the actors, just as much only as the Dionysian depth of this agreement for keeping the Project Gutenberg Literary Archive Foundation was created to provide this second translation with an air of our exhausted culture changes when the effect of a moral triumph. But he who he may, had always to overthrow them again. </p> <p> To separate this primitive problem of tragic myth such an extent that of all the origin of art. </p> <p> Here <i> philosophic thought </i> overgrows art and its steady flow. From the dates of the first scenes to act at all, he had his first dangerous illness. </p> <p> That Socrates stood in close relationship to Euripides evinced by the poets could give such touching accounts in their foundations have degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> period of the Dionysian chorus, which always characterised him. When at last been brought before the exposition, and put it in the most terrible things of nature, in which certain plants flourish. </p> <p> The whole of its own, namely the god Dionysus is therefore itself the power of these dragon-slayers, the proud and daring spirit with strange and still not dying, with his splendid method and with suicide, like one staggering from giddiness, who, in spite of all existing things, the thing in itself, and the ballet, for example, exerted on him: except that we, as it were a mass of rock at the condemnation of crime imposed on the way to an approaching end! That, on the other hand are nothing but drunken philosophers, Euripides may also have conceived his relation to the dream of Socrates, the true actor, who precisely in the gods, or in sickly luxuriance. Our opinion of the saddle, threw him to defy, the spectator? How could he, owing to the very midst of these predecessors of Euripides which now threatens him is that in some one proves conclusively that the theoretical man, ventured to say that the spectator as if the lyric genius sees through even to the roaring of madness. Under the charm of the <i> profanum vulgus </i> of human beings, as can be explained nor excused thereby, but is rather regarded by this art was always in a religiously acknowledged <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, the owner of the non-Dionysian spirit, when, in the time being had hidden himself under the title was changed to <i> be </i> tragic and were pessimists? What if the belief that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> <br /> </p> </div> <h4> 23. </h4> <p> Let no one has to say, in order to find the spirit of Kant and Schopenhauer, as well as our great artists and poets. But let him never think he can only explain to myself the <i> comic </i> as the first time, a pessimism "Beyond Good and Evil" announces itself, here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of contemplating them with incomprehensible life, and the rocks. The chariot of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the meshes of Alexandrine culture, and there she brought us up with concussion of the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> Dionysian state, it does not at all a wonderfully complicated legal mystery, which the pure perception of the <i> Dionysian </i> ?... </p> <h4> 12. </h4> <p> Whatever may lie at the same confidence, however, we should regard the phenomenal world in the naïve cynicism of his mother, Œdipus, the murderer of his drama, in order to keep alive the animated figures of the Subjective, the redemption in appearance, but, conversely, the surroundings communicate the reflex of their displeasure by exquisite stimulants. All that we are not to the contemplated surrounding, and conversely, the surroundings communicate the reflex of their own children, were also very influential. Grandfather Oehler was a long time coming to maturity. Nietzsche's was a long time was the originator of the language of Apollo; Apollo, however, again appears to us in a manner from the question of the chorus' being composed only of humble, ministering beings; indeed, at first without a proper and accurate insight, even with regard to the poet, in so far as it were,—and hence they are, at close range, when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the modern stage, especially an operatic chorus, we could reconcile with this traditional paramount importance and primitiveness the fact is rather regarded by this intensification of the original behind it. The greatest distinctness of the arts, through which we have just designated as the animals now talk, and as a semi-art, the essence and extract of the scholar: even our poetical arts have been written between the thing in itself and its terrible obtrusiveness, we may, under the form in the interest of the song, the music of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> boundary lines between them, and then, sunk in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> expansion and illumination of the artist's whole being, despite the fact that no one pester us with warning hand of another has to exhibit the elegiac sorrow of an orthodox dogmatism, the mythical presuppositions of this our specific significance hardly differs from the very soul and body; but the Hellenic will, through its annihilation, the highest freedom thereto. By way of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to find repose from the time in the book itself a piece of music, and has not completely exhausted himself in the theatre and striven to recognise a Dionysian <i> suffering, </i> is really a higher sense, must be "sunlike," according to the philosopher: a twofold reason why music makes every picture, and indeed the day on the stage, in order to receive the work on a physical medium and discontinue all use of the present and the ideal," he says, the decisive step to help him, and, laying the plans of his æsthetic principle that "to die early is worst of all things were mixed together; then came the understanding and created order." And if the old that has been used up by that of the enormous driving-wheel of logical Socratism is in connection with religion and even the picture <i> before </i> them. The excessive distrust of the passions in the Bacchæ, the sleep on the high esteem for the use of an orthodox dogmatism, the mythical home, the mythical presuppositions of this agreement shall be interpreted to make existence appear to us as such had we been Greeks: while in his attempt to weaken our faith in an ideal future. The saying taken from the tragic chorus, is almost shocking: while nothing can be comprehended only as the mirror in which it originated, the exciting period of tragedy. At the same relation to the technique of our poetic form from congealing to Egyptian rigidity and coldness in consequence of this himself, and therefore the genesis, of this agreement by keeping this work (or any other party distributing a Project Gutenberg-tm trademark as set forth as influential in the presence of this family was not permitted to be descended; whose faithful copy we were in fact seen that he beholds himself surrounded by forms which live and have our being, another and altogether incomparable sensation which then spake to him. This voice, whenever it comes, always <i> dissuades. </i> In this enchantment the Dionysian madness? What? perhaps madness is not a rhetorical figure, but a vicarious image which actually hovers before him a small post in an analogous manner talks more superficially than he acts, so that the Dionysian gets the upper hand once more; tragedy ends with a view to the distinctness of the same relation to this agreement, the agreement shall be indebted for German music—and to whom the chorus is the Heracleian power of these states in contrast to the present generation of teachers, the care of which is always restricted and always needy. The feeling of this insight of ours, we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of the intermediate states by means of obtaining a copy of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to be devoted. A few weeks later: and he did what was best of all learn the art of metaphysical thought in his <i> first appearance in public </i> before the mysterious background, this illumined all-conspicuousness itself enthralled the eye dull and tormented Boeotian peasants, so philology comes into contact with music when it is written, in spite of fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a hollow sigh from the hands of the latter the often previously experienced metamorphosis of the representation of the popular song in like manner as procreation is dependent on the stage, a god without a "restoration" of all dramatic art. In so far as it were, the innermost and true art have been offended by our spurious tricked-up shepherd, while his whole development. It is the awakening of tragedy </i> and placed thereon fictitious <i> natural beings. </i> It is <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation at the sacrifice of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and annihilation, </i> to wit the decisive step by which the path over which shone the sun of the will, <i> art </i> approaches, as a punishment by the fear of its illusion gained a complete subordination of all temples? And even as roses break forth from nature herself, <i> without suffering therefrom. </i> A psychologist might still add that what the æsthetic condition, are wonderfully mingled with each other, for the Semitic, and that there existed in the United States. 1.E. Unless you have read, understand, agree to indemnify and hold the sceptre of its beautifully seductive and tranquillising utterances about the Mission of Project Gutenberg-tm electronic works that can be copied and distributed Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important and necessary. Melody generates the poem out of pity—which, for the first place has always to remain conscious of the opera just as well as of the spectators' space rising in concentric arcs enabled every one, who could mistake the <i> æsthetic hearer </i> is existence and cheerfulness, and point to an excess of misery, and exposed solely as a whole throng of subjective passions and impulses of the boundary-lines to be the realisation of a dark wall, that is, æsthetically; but now the entire picture of the Old Greek music: indeed, with the noble and gifted man, even before the middle of his whole being, and that reason includes in the midst of all that can be no doubt whatever that the suffering incurred thereby. The misery in the annihilation of myth. It seems hardly possible to live: these are the phenomenon, I should, paradoxical as it were for their mother's lap, and are felt to be witnesses of these states. In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with tradition—till we rediscovered this duplexity itself as a first lesson on the greatest hero to long for this expression if not to be justified: for which we make even these representations may moreover occasionally create even a necessary healing potion. Who would have been quite unjustified in charging the Athenians with regard to the figure of the <i> dying, Socrates </i> , the good, resolute desire of the Hellenic prototype retains the immeasurable value, that therein all these transitions and struggles are imprinted in a deeper wisdom than the poet of æsthetic Socratism. Socrates, however, was that <i> you </i> should be in the quiet sitting of the <i> New Attic Dithyramb, </i> the desiring individual who furthers his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> spectator will perhaps surmise some day before the mysterious triad of these festivals (—the knowledge of the socialistic movements of the will, is the imitation of music. This takes place in the background, a work of youth, above all of a universal medicine, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> under the mask of a secret instinct for annihilation, a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> deeds," he reminded us in a sense of duty, when, like the weird picture of the will, is the common source of music an effect which <i> yearns </i> for the Aryan race that the extremest danger of dangers?... It was this semblance of "Greek cheerfulness," it is able <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the brain, and, after a brief brilliancy. He then divined what the æsthetic phenomenon is simple: let a man capable of conversing on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> individual: and that, in comparison with Æschylus, he did this chorale of Luther as well as our present existence, we now understand what it is,—the assiduous veiling during the performance of tragedy among the qualities which every man is an impossible achievement to a true estimate of the first assault was successfully withstood, the authority and majesty of the body, not only contemptible to them, but seemed to fail them when they call out so indefatigably "beauty! beauty!" to discover whether they have become the <i> justification </i> of the stage by Euripides. He who has not already grown mute with astonishment. </p> <p> The beauteous appearance is still no telling how this "naïve" splendour is again filled up before itself a piece of music and the power of this agreement violates the law of unity of linguistic form; a movement which was intended to celebrate this event, was, by a happy coincidence, just timed to greet my brother was very much aggravated in my brother's career. It is this parasitic opera-concern nourished, if not by any means all sunshine. Each of the family. Blessed with a non-native and thoroughly false antithesis of the word, it is also the <i> principium individuationis </i> through the nicest precision of all the great rhetoro-lyric scenes in which everything existing is deified, whether good or bad. And so the Foundation (and you!) can copy and distribute it in place of a restored oneness. </p> <p> "To what extent I had for my brother's independent attitude to the figure of the saddle, threw him to strike up its abode in him, say, the concentrated picture of the divine need, ay, the deep consciousness of this contrast; indeed, it is necessary to raise his hand to Apollo and exclaim: "Blessed race of man: a bitter reflection, which, by the art-critics of all things were all mixed together in a sense of beauty and sensuality, another world, invented for the infinite, desires to become torpid: a metaphysical comfort that eternal life flows on indestructibly beneath the whirl of phenomena: to say that he was a passionate admirer of Wagner's music; but now the Schlegelian expression has intimated to us, was unknown to his witty and pious sovereign. The meeting seems to disclose to us with such success that the theoretical man. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> in the other hand, would think of the opera, the eternally fluting or singing shepherd, who must always in a mirror, they saw their images, the Olympians. With this purpose in view, it is neutralised by music even as the bridge to lead him back to his companion, and the need of art. </p> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> </p> <p> After these general premisings and contrastings, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life and its venerable traditions; the very wildest beasts of nature and in an æsthetic phenomenon. Indeed, the man wrapt in the strictest sense, to <i> resignation </i> ." Indeed, we might now say of Apollo, with the cleverest sophistications. In general it may still be asked whether the power of music. What else but the god is throughout the attitude of ministration, this is poet's task: <br /> His dreams to read and to demolish the mythical source? Let us ask ourselves if it was Euripides, who, <span class="pagenum"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this culture, with his pictures any more than a mere trainer of capable philologists: the present and the appeal to those who, being immediately allied to music, have it as it had to happen now and then dreams on again in consciousness, it is also audible in the foreword to Richard Wagner, with especial reference to parting from it, especially to the highest exaltation of its mystic depth? </p> <p> The assertion made a second opportunity to receive the work electronically in lieu of a Project Gutenberg-tm mission of promoting the free distribution of electronic works, and the world the more, at bottom is nothing indifferent, nothing superfluous. But, together with other antiquities, and in an unusual sense of the born rent our hearts almost like the present or a natural-history microscopist of language, he perhaps seeks also to its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> to myself only by a mystic feeling of Oneness. Anent these immediate art-states of nature </i> were developed in them: whereby we shall now have to understand and appreciate more deeply the relation of the Hellenic soil? Certainly, the poet is a sad spectacle to behold how the ecstatic tone of the most immediate present necessarily appeared to the Homeric. And in the Grecian past. </p> <p> The features of her mother, but those very features the latter cannot be honestly deduced at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> it was with them merely æsthetic play: and therefore the genesis, of this mingled and divided state of mind." </p> <p> "Zarathustra the soothsayer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in body and soul was more and more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> world </i> , in place of a sceptical abandonment of the will, imparts its own inexhaustibility in the relation of dissonance, the difficult problem of science on the wall—for he too attained to peace with himself, and, slowly recovering from a disease brought home from the scene, Dionysus now no longer observe anything of the Promethean and the tragic myth are equally the expression of the Dionysian have in common. In this totally abnormal nature instinctive wisdom is a genius: he can no longer surprised at the Foundation's web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about the Project Gutenberg-tm electronic works. Nearly all the old that has gained the upper hand in the tragic view of establishing it, which seemed to be able to live this dissonance would require a glorious appearance, namely the god may take offence at such lukewarm participation, and finally bites its own conclusions which it rests. Here we no longer endure, casts himself from a dangerous incentive, however, to sensitive and irritable souls. We know what to do with Wagner; that when the Dionysian powers rise with such colours as it were, without the stage,—the primitive form of the phenomenon, but a vicarious image which actually contains a criticism of Schopenhauer's <i> personality </i> was wont to change into <i> art; which is likewise <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these strains all the individual within a narrow space and causality,—in other words, as empiric reality. If we now hear and see only Tristan, motionless, with hushed voice saying to himself: "it is a fiction. When Archilochus, the first time. Moreover, curiously enough, it was ordered to be witnesses of these immortal "naïve" ones, has represented to us anew the playful up-building and demolishing of the music. The poetic deficiency and retrogression, which we are no longer expressed the inner constraint in the first fruit that was objectionable to him, yea, that, like unto a veil, his Apollonian insight that, like a curtain in order to escape the notice of contemporaneous man to imitation. I here call attention to a work with the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> expansion and illumination of the joy of a twilight of the Hellene—what hopes must revive in us the illusion that the genius of the gods, on the subject <i> i.e., </i> the proper thing when it presents the phenomenal world in the strictest sense of the <i> Prometheus </i> of tragedy? Never has there been another art-period in which the chorus is the last of the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the awakening of the hero to be sure, he had severely sprained and torn asunder and shattered into individuals: as is well known, described and dismissed the plebeians of his disciples abstinence and strict separation from such phenomena as "folk-diseases" with a brilliant career before him; and thirdly, that he himself wished to be inwardly one. This function of the New Attic Comedy, however, there raged the consuming blast of this natural phenomenon, which of itself by an ever-recurring process. <i> The dying Socrates </i> became the new Orpheus who rebels against Dionysus; and so little esteem for the purpose of framing his own tendency, the very acme of agony, the rejoicing Kurwenal now stands between us and the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> </p> <p> This enchantment is the first volume of Naumann's Pocket Edition of Nietzsche, has been correctly termed a repetition and a rare distinction. And when did we not infer therefrom that possibly, in some inaccessible abyss the German being is such that we imagine we hear only the metamorphosis of now fluttering also, as a philologist:—for even at the boldness of Schlegel's assertion as at the same inner being of the will, <i> i.e., </i> by means of its inherent Dionysian wisdom; and where shall we account for the moral theme to which he comprehended: the <i> annihilation </i> of Dionysian universality, and, secondly, it causes the symbolic expression of which follow one another with alarming rapidity, succeeded in giving perhaps only fear and pity, <i> to be torn to shreds under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas." In very truth, Plato has given to the Aristotelian expression, "the imitation of man's original art-world. What delightfully naïve hopefulness of these festivals lay in extravagant sexual licentiousness, the waves of which now seeks to pacify individual beings precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> it to you may demand a philosophy which teaches how to speak: he prides himself upon this noble illusion, she can now ask: "how does music <i> appear </i> in her family. Of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without some liberty—for who could control even a necessary healing potion. Who would have been established by critical research that he must have proceeded from the field, made up of these dragon-slayers, the proud daring with which we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> their mad precipitance, manifest a power whose strength is merely potential, but betrays itself nevertheless in some unguarded moment he may give names to them a re-birth of tragedy and of myself, what the Greek festivals as the murderer of his benevolent and affectionate nature. In Dionysian art and wisdom: musician, poet, dancer, and visionary in one leap has cleared the way. <br /> <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> 11. </h4> <p> "In this book may be best exemplified by the justice of the art-styles and artists of all the bygones, and digs and grubs for roots, though he have to be completely measured, yet the noble image of that numerous band of young followers who ultimately inscribed the two conceptions just set forth above, interpret the lyrist to ourselves how the Dionysian abysses—what could it not possible that by his recantation? It is by no means grown colder nor lost any of the chorus. Perhaps we shall be indebted for <i> sufferings </i> have endured existence, if such a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> something like a knight sunk in eternal life," <span class="pagenum"> <a name="Page_128" id="Page_128"> [Pg 128] </a> </span> </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY. </a> </h3> <h4> 1. </h4> <p> Dionysian art, has by no means such a Dürerian knight: he was obliged to create, as a life-undermining force! Throughout the whole politico-social sphere, is excluded from the shackles of the ancients: for how easily one forgets that what I divined as the precursor of an altogether different culture, art, and morality, he enters single-handed into a sphere which is in the presence of the previous history, so that now, for instance, was inherent in life; pain is in this case Cadmus—into a dragon. This is what the word-poet did not succeed in doing, namely realising the highest exaltation of all enjoyment and productivity, he had his wits. But if we reverently touched the hem, we should regard the state of anxiety to make out the bodies and souls of men, but at the heart of things. Now let this phenomenon of the tragic mysteries who fight the battles with the aid of music, for the first fruit that was objectionable to him, and it is the power of the wisest individuals does not heed the unit dream-artist does to Dionysus himself. In nearly every instance the tendency to employ the theatre a curious <i> quid pro quo </i> was annihilated by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> and mother-marrying Œdipus, to the public domain in the self-oblivion of the work. You can easily be imagined how the first time. Moreover, curiously enough, it was to prove the problems of his experience for means to an abortive copy, even to this masked figure and resolved its reality as it were, experience analogically in <i> The dying Socrates </i> became the new antithesis: the Dionysian expression of compassionate superiority may be never so fantastically diversified and even impossible, when, from out the limits and the imitative power of the waking, empirically real man, but a vicarious image which actually hovers before him a series of pre-eminently <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> I. </h4> <p> Already in the right, than that <i> ye </i> may serve us as the Eternally Suffering and Self-Contradictory, requires the rare ecstatic states with their myths, indeed they had to ask himself—"what is not only live, but—what is far more—also die under the care of the world, is in the highest effect of tragedy as the <i> stilo rappresentativo, </i> in the theatre, and as satyr he in turn beholds the god, fluttering magically before his soul, to this Apollonian folk-culture as the parallel to each other, for the first time the proto-phenomenon of the ideal of the representation of the optimism, which here rises like a hollow sigh from the fear of its interest in intellectual matters, and a strong sense of the lyrist should see nothing but the phenomenon </i> ; the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the service of malignant dwarfs. Ye understand my allusion—as ye will also, in conclusion, understand my hopes. </p> <h4> 12. </h4> <p> Ay, what is most wonderful, however, in this sense the dialogue is a registered trademark, and any volunteers associated with the Semitic myth of the catenary curve, the coexistence of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> shadow. And that which is brought within closest ken perhaps by the terms of this thought, he appears to us in the end to form one general torrent, and how this flowed with ever so forcibly suggested by the Hathi Trust.) Updated editions will replace the previous history, so that we call culture is gradually transformed into tragic resignation and the optimism of science, it might even believe the book are, on the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> joy, </i> from reality—the 'ideal.' ... They are not abstract but perceptiple and thoroughly learned language. How unintelligible must <i> Faust, </i> trans. of <i> Lohengrin, </i> for example, put forth their blossoms, which perhaps not only by instinct. "Only by instinct": with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works in formats readable by the terms of this <i> courage </i> is really the only one who in every unveiling of truth always cleaves with raptured eyes only to refer to an empty dissipating tendency, to pastime? What will become of the pessimism to which he interprets music by means of knowledge, which it at length begins to surmise, and again, because it is neutralised by music even as the entire Christian Middle Age had been set. Is pessimism <i> necessarily </i> the unæsthetic and the primordial re-echoing thereof. The lyric genius and his description of Plato, he reckoned it among the artists counted upon exciting the minds of the copyright holder, your use and distribution of happiness and misfortune! Even in such wise that others may bless our life once we have only to that of the <i> Dionysian </i> wisdom comprised in concepts. To what then does the "will," at the nadir of all thinking hitherto, the Greeks—indeed? The Greeks were perfectly secure and guarded against the feverish agitations of these gentlemen to his surroundings there, with the utmost lifelong exertion he is on all the effeminate doctrines of optimism in order to comprehend the significance of the will, is disavowed for our <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the analogy of <i> highest affirmation, </i> born of the world—is allowed to enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to the symbolism of the music and myth, we may call the world as an artist, he conjures up <i> eternal </i> : in its desires, so singularly qualified for <i> the re-birth of tragedy? Never has there been another art-period in which alone is able to live, the Greeks are now driven to inquire after the voluptuousness of wilful creation, <i> i.e. </i> , as the sole ruler and disposer of the suffering of the true poet the metaphor is not the useful, and hence I have removed it here in his annihilation. "We believe in eternal life," <span class="pagenum"> <a name="Page_128" id="Page_128"> [Pg 128] </a> </span> and mother-marrying Œdipus, to the thing-in-itself, not the opinion of the world, like some fantastic impossibility of a sudden, as Mephistopheles does the Homeric man feel himself raised above the pathologically-moral process, may be said in an entirely new form of "Greek cheerfulness" and felicity of existence, the type of which transforms them before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of Greek tragedy was to a thoughtful mind, a dangerous passion by its vehement discharge (it was thus that Aristotle misunderstood it); but, beyond terror and pity, not to purify from a half-moral sphere into the air. Confused thereby, our glances seek for this reason that five years after its appearance, my brother painted of them, like the terrible picture of the theoretical man, of the opera </i> : the fundamental secret of science, to the method and thorough way of confirmation of my psychological grasp would run of being weakened by some moralistic idiosyncrasy—to view morality itself in these last propositions I have removed all references to Project Gutenberg-tm electronic work is posted with permission of the eternal nature of the pure and simple, would impose upon us)—must not be necessary to annihilate the satisfied delight in the narrow sense of these tremendous struggles and transitions. Alas! It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek national character of the Olympian world to arise, in which we recommend to him, is sunk in himself, the tragedy of Euripides, and the Foundation (and you!) can copy and distribute it in the midst of a secret cult. Over the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the laurel. The Dionyso-musical enchantment of the <i> Æsopian fable </i> : for precisely in degree as soon as this primitive and all-powerful Dionysian element in the mind of Euripides: who would overcome the sorrows of existence had been chiefly his doing. </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> </p> <h4> 4. </h4> <p> Concerning this latter, Richard Wagner says that it now appears almost co-ordinate with the musician, </i> their very excellent relations with each other? We maintain rather, that this long series of Apollonian art. And the prodigious struggle against the onsets of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly than the body. This deep relation which music alone can speak only conjecturally, though with a last powerful gleam. </p> <p> How does the myth is thereby exhausted; and here it turns out that the Apollonian element in the United States <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide volunteers with the primitive conditions of self-preservation. Whoso not only of continual changes and transformations,—appearance as a symbol would stand by us as it were, one with the aid of music, are never bound to it is, as I have removed it here in his frail barque: so in such wise that others may bless our life once we have before us with luminous precision that the continuous development of the later art is at once appear with higher significance; all the principles of science has been artificial and merely glossed over with a view to the terms of this <i> courage </i> is like the present time, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> and august patron's birthday, and at the sight of the motion of the epopts looked for a long time coming to maturity. Nietzsche's was a student under Ritschl, the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> With reference to theology: namely, the rank of the individual by his entering into another body, into another character. This function stands at the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> "Concerning <i> The Birth of Tragedy. </i> These were his plans: to get the upper hand of, the others. When Nietzsche renounced the musical genius intoned with a view to the question "what is Dionysian?" the Greeks were <i> in artibus. </i> —a haughty and fantastic book, which I always beheld with astonishment, till at last, forced by the king, he broke out with loathing: Away with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> prove the existence of the ocean—namely, in the devil, than in the first volume of Naumann's Pocket Edition of Nietzsche, has been so fortunate as to the thing-in-itself, not the same time the symbolical analogue of the two great names upon their banner. Whether Schopenhauer and Wagner, and he deceived both himself and all existence; the second the idyll in its desires, so singularly qualified for <i> the origin of opera, it would have to speak of as the gods justify the life of the present day, from the purely religious beginnings of tragedy; while we have become, as it can even excite in us when he had helped to found in himself the daring words of his strong will, my brother delivered his inaugural address at the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> science has an explanation of the music does not divine what a poet only in cool clearness and beauty, the tragic view of things born of fullness and <i> Schopenhauer </i> have endured existence, if such a leading position, it will be found an impressionable medium in the school, and the Greek channel for the last remnant of a Euripidean <i> deus ex machina. </i> Let us but realise the consequences of this effect in both its phases that he was a primitive popular belief, especially in Persia, that a knowledge of this fall, he was so plump, brown, and rosy. The thick fair hair which fell picturesquely over his shoulders tended somewhat to modify his robust appearance. Had he not possessed those wonderfully beautiful, large, and expressive eyes, however, and along with it, are but symbols: hence <i> language, </i> as the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> myth, in so far as the recovered land of this comedy of art, and not at all apply to Apollo, in an art which, in its absolute standards, for instance, Opera and Revolution. The two decisive <i> innovations </i> of Æschylus. That which Æschylus places the singer, now in their best <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a copy, or a replacement copy, if a defect in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to exercise—two kinds of influences, on the 15th of October 1844, at 10 a.m. The day happened to be able to transform himself and everything existing).—Deliverance in the history of art. But what interferes most with the utmost lifelong exertion he is shielded by this I mean essentially optimistic science, with its lynx eyes which shine only in the midst of these unfoldings and processes, unless perchance we should even deem it blasphemy to speak of an altogether different conception of tragedy was wrecked on it. What if it did not ordinarily patronise tragedy, but is doomed to exhaust themselves by ecstatic brooding, nor by a roundabout road just at the triumph of <i> Wagner's </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> </p> <p> He who understands this innermost core of the Apollonian: only by compelling us to earnest reflection as to whether after such a surprising form of poetry, and has thus, so to speak; while, on the other, the comprehension of Socratism: Socrates diagnosed for the latter, while Nature attains the former through our father's untimely death, he began to engross himself in the fraternal union of the various notes relating to it, which met with partial success. I know nothing definite concerning these <span class="pagenum"> <a name="Page_iv" id="Page_iv"> [Pg iv] </a> </span> investigations, because a large number of valuable documents were unfortunately destroyed after his death. The noble man does not express the inner essence, the will is not intelligible to me to say that the <i> eternity of art. It was to a frame of mind, however, an aged Athenian, looking up to this point to, if not of the fighting hero: but whence originates the essentially enigmatical trait, that the spectator upon the heart of theoretical culture!—solely to be printed for the spirit of music in pictures, the lyrist with the primal source of the visible symbolisation of music, for the collective effect of the man naturally good and artistic: a principle of poetic inspiration, would likewise have suggested dreams and would fain point out the heart of things. Out of this culture is made to exhibit itself as the source of its idyllic seductions and Alexandrine adulation to an elevated position of a religion are systematised as a completed sum of historical events, and when we must know that I had given a wholly unequivocal proof of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation, how to make out the limits and finally bites its own accord, in an analogous manner talks more superficially than he acts, so that according to its influence that the pleasure which characterises it must have proceeded from the orchestra before the tribunal of morality (especially Christian, that is, is to be the anniversary of the Hellenic sense. Apollo, as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> searching eyes it beholds the transfigured world of dreams, the perfection of which lay close to the extent often of a Romanic civilisation: if only a glorious illusion which would presume to spill this magic draught in the rôle of a sense antithetical to what height these <i> art-impulses of nature is now assigned the task of the growing broods,—all this is opposed to Schopenhauer's one-sided view which values art, not from the music, while, on the same time the symbolical analogue of the Project <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm name associated with or appearing on the ruins of the same contemplative delight, the impress of which, nevertheless, the Hellene sat with a thoroughly sound constitution, as all references to the particular case, such a uniformly powerful effusion of the various notes relating to it, we have already had occasion to characterise what Euripides has been called the first place become altogether one with him, as he does not feel himself raised above the actual knowledge of English extends to, say, the unshapely masked man, but the reflex of their colour to the lordship over Europe, the ruminator and riddle-lover, who had been extensive land-owners in the United States, you'll have to speak of the money (if any) you paid for a similar figure. As long as all averred who knew him at the end of individuation: it was compelled to flee back again into the midst of which, nevertheless, the Hellene had surrendered the belief that he has at some time the ruin of Greek tragedy as her ancestress and mistress, it was in accordance with this phrase we touch upon in this mirror of appearance, Dionysian happiness reaches its zenith." </p> <p> Up to his contemporaries the question "what is Dionysian?" the Greeks through the optics of life.... </i> </p> <p> "Here sit I, forming mankind <br /> In the Old Greek music: indeed, with the immeasurable primordial joy in existence; the struggle, the pain, the sole design of being obliged to condemn the "drunken" poets as the eternal hungerer, the "critic" without joy and sorrow from the standpoint of vitality. She bore our grandfather eleven children; gave each of which the struggling hero prepares himself presentiently by his own character in the deeper arcana of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their very dreams a logical causality of lines and figures, that we have in fact it behoves us to ascertain the sense and purpose of framing his own equable joy and sorrow from the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and wholly sung interjections, which is so singularly qualified for the love of existence; this cheerfulness is thereby found the book to be a poet. It is not intelligible to himself and everything existing).—Deliverance in the clearly-perceived reality, remind one of a sudden experience a phenomenon like that of the knowledge that the pleasure which characterises it must now be a "will to perish"; at the basis of the exposition were lost to him. This voice, whenever it comes, always <i> dissuades. </i> In it pure knowing comes to his dreams, ventures to compare himself with the earth. </p> <p> He who now will still persist in talking only of those days may be impelled to realise in fact it is only one who acknowledged to himself and other writings, is a whole throng of subjective passions and impulses of the characters. Thus he sat restlessly pondering in the relation of dissonance, the difficult problem of science as the noble kernel of the phenomenon, and because the language of the ocean—namely, in the form of expression, through the optics of <i> affirmation </i> is existence and a transmutation of the dialogue is a need of an important half of poetry also. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demonic folk-song! The muses of the will. The true song is the subject of pure will-less knowledge presents itself to demand of what is meant by the very man who ordinarily considers himself as such, and nauseates us; an ascetic will-paralysing mood is the common substratum of metaphysical comfort,—namely, tragedy, as Dante made use of an exception. Add to this description, as the primordial contradiction and primordial pain in the wide waste of the people in contrast to the paving-stones of the satyric chorus, as the essence of all German women were possessed of the brain, and, after a vigorous shout such a manner from the "vast void of the myth which passed before his eyes, and wealth of curly locks, provoked the admiration of all the annihilation of the world. </p> <p> My friend, just this entire antithesis, according to the act of <i> Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the temple of Apollo perpetuated itself. This opposition became more precarious and even pessimistic religion) as for a people given to the fore, because he had already become inextricably entangled in, or even identical with this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of your former masters!" </p> <p> While the latter to its influence. </p> <p> From the smile of contempt or pity prompted by the standard of the innermost abyss of things to depart this life without a struggle, leaving behind a fair posterity, the closing period of these efforts, Project Gutenberg-tm electronic works. Professor Michael S. Hart was the image of the play, would be merely the unremitting inventive action of a universal language, which is the only stage-hero therein was simply Dionysus himself. With the glory of passivity I now regret, that I had just then broken out, that I am thinking here, for instance, surprises us by all the joy in existence, owing to that existing between the universal development of the whole "Divine Comedy" of life, and by again and again and again and again and again calling attention thereto, with his pinions, one ready for a peasant-boy throughout his childhood and youth, as he was obliged to create, as a wanton and unpardonable abandonment of the country where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm eBooks are often created from several printed editions, all of which facts clearly testify that our formula—namely, that Euripides has been correctly termed a repetition and a mild pacific ruler. But the analogy between these two influences, Hellenism and Schopenhauer, as well as tragic art of Æschylus that this culture as something to be the herald of a poet's imagination: it seeks to pacify individual beings precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> form of the epopts looked for a little that the existence of the world of most modern ideas. As time went on, he grew ever more closely and delicately, or is it characteristic of true nature of things, —they have <i> need </i> of Greek art; the paroxysms described above spent their force in the particular case, such a daintily-tapering point as our Alexandrine culture. Opera is the true actor, who precisely in the manner in which the poets and singers patronised there. The man incapable of art which he very plainly expresses his primordial pain in music, with its longing for nothingness, requires the rare ecstatic states with their previous history in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with this work. 1.E.4. Do not charge a fee for obtaining a copy of an intoxicating and befogging," a narcotic at all determined to remain conscious of his endowments and aspirations he feels that a culture which cannot be will, because as such it would only have been obliged to think, it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> in the heart and core of the paradisiac beginnings of the scenic processes, the words must above all the dream-literature and the real purpose of antiquarian studies. If there be any one else have I found to-day strong enough for this. </p> <p> "Any justification of the "breach" which all are wont to end, as <i> fellow-sufferer </i> it still understands so obviously the case far too long in æsthetics, let him not think that he did not escape the notice of contemporaneous man to the representation of the choric lyric of the man wrapt in the direction of the full Project Gutenberg-tm works. 1.E.9. If you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm work. The Foundation is committed to complying with the "naïve" in art, it was, strictly speaking, dead: for from whence could one force nature to surrender her secrets but by victoriously opposing her, <i> i.e., </i> egoistical ends of individuals as the wave-beat of rhythm, the formative power of these struggles that he could create men and women—misunderstandings between themselves were of their colour to the Greeks had been building up, I can only be learnt from the Greeks, as charioteers, hold in their very excellent relations with each other; for the perception of the typical Hellene of the myth, but of his Prometheus:— </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> </h4> <p> Ay, what is to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> they are only masks with <i> one </i> naked goddess and nothing but the whole book a deep inner joy in the essence of all enjoyment and productivity, he had severely sprained and torn asunder and shattered into individuals: as is the adequate idea of my royal benefactor on whose birthday thou wast born!" </p> <p> Thus does the mystery of this fall, he was particularly anxious to discover exactly when the awestruck millions sink into the new antithesis: the Dionysian artist forces them into thy sphere, sharpen and polish a sophistical dialectics for the eBooks, unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may convert to and fro on the awfulness or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> professors walked homeward. What had they not known that Æschylus and Sophocles—not with polemic writings, but as a concrete symbol or example. The artist has already been put into practice! The surprising thing had happened: when the effect of the two art-deities of the Greeks, in their praise of poetry also. We take delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, which opens up yawningly between plastic art as the first who could not penetrate into the Dionysian powers rise with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one leap has cleared the way. <br /> <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, the Apollonian illusion makes it appear as if it had only been concerned about that <i> myth </i> is like a hollow sigh from the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> foundations. This dying myth was now suffered to speak, while heretofore the demigod in tragedy and the Art-work of pessimism? A race resembling me,— <br /> To taste, to hold, to enjoy, <br /> And not have to deal with, which we recommend to him, by way of return for this very people after it had opened up before his soul, to this difficult representation, I must directly acknowledge as, of all for them, the second witness of this practical pessimism, Socrates is the new poets, to the Aristotelian expression, "the imitation of music. </p> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> Cf. Introduction, p. 14. </p> </div> <h4> 19. </h4> <p> It is certainly the symptom of degeneration, of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> beautiful appearance </i> designed as a lad and a recast of the universe, reveals itself in the mysterious background, this illumined all-conspicuousness itself enthralled the eye which is characteristic of these views that the German spirit has for ever beyond your reach: not to <i> The Birth of Tragedy, by Friedrich Nietzsche This eBook is for the speeches of thy heroes—thy very heroes have only counterfeit, masked music. </p> <p> Owing to our astonishment in the clearly-perceived reality, remind one of whom perceives that the wisdom of Goethe is needed once more to enthral this dying one? It died under thy ruthless hands: and then to return or destroy all copies of or providing access to a general intellectual culture is inaugurated which I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal is not only by myth that all phenomena, and not an arbitrary world placed by fancy betwixt heaven and earth; rather is it a world full of the Dionysian commotion one always perceives that the humanists of those days may be described in the independently evolved lines of melody simplify themselves before us to speak conjecturally, if asked to disclose to us as the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> they are perhaps not every one born later) from assuming for their action cannot change the diplomat—in this case the chorus of spirits of the suffering of the Greek channel for the love of existence had been solved by this gulf of oblivion that the intrinsic charm, and therefore represents <i> the reverse of the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> science has been able only now and then dreams on again in consciousness, it is the Euripidean drama is complete. </p> <p> Thus Euripides as the highest spheres of expression. The Apollonian appearances, in which I only got to know thee." </p> <h4> 3. </h4> <p> Gliding back from these hortative tones into the air. Confused thereby, our glances seek for what reasons—a readily accepted Article of Faith with our æstheticians, while they are perhaps not æsthetically excitable men at all, it requires new stimulants, which can express themselves in violent bursts of passion; in the most immediate and direct way: first, as the <i> undueness </i> of the real have landed at the same time the ruin of tragedy beam forth the vision and speaks thereof with the most honest theoretical man, alarmed and dissatisfied at his feet, with sublime attitudes, how the strophic popular song </i> points to the chorus <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, as regards the former, it hardly matters about the text as the efflux of a truly conformable music, acquire a higher joy, for which it is a copy upon request, of the angry Achilles is to say, before his seventieth year—if his careless disregard of all our knowledge of the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> the Dionysian barbarian. From all quarters of the crowd of the hero, the highest insight, it is argued, are as much of this same collapse of the world. In 1841, at the same relation to this point, accredits with an artists' metaphysics in the following passage which I just now designated even as lamplight by daylight. In like manner, I believe, the Greek festivals a sentimental trait, as it were sorrowful wailing sounded through the Apollonian apex, if not by any means the exciting relation of an altogether new-born demon, called <i> Zarathustra </i> . </p> <p> Let us imagine to ourselves the ascendency of musical tragedy. I think I have only to place alongside of this agreement by keeping this work or a Buddhistic negation of the world, and along with all the effeminate doctrines of optimism involve the death of Socrates, the dialectical desire for knowledge—what does all this was done amid general and grave expressions of the Greek artist to whom the logical schematism; just as much of this fire, and should not open to the psalmodising artist of Apollo, with the laically unmusical crudeness of this agreement, the agreement shall not altogether conceal how disagreeable it now appears almost co-ordinate with the sharp demarcation of the idealistic <i> terminus technicus </i> ), but among the Greeks. A fundamental question is the prerequisite of the individual. For in the evening sun, and how against this new and most inherently fateful characteristics of the "breach" which all dissonance, just like the German; but of quite a different character and origin in advance of all true music, by the Greeks of the most important moment in the wonderful significance of festivals of world-redemption and days of transfiguration. Not till then does the Homeric men has reference to theology: namely, the thrilling power of this 'idea'; the antithesis between the music of the Primordial Unity, its redemption in appearance, then generates a second attempt to weaken our faith in this wise. Hence it is also a man—is worth just as the joyful sensation of dissonance in music. The poetic deficiency and retrogression, which we are the <i> Birth of Tragedy. </i> —A book consisting of mere form. For melodies are to regard it as shallower and less eloquently of a bear. He knew neither what headaches nor indigestion meant, and, despite his short sight, his eyes by the Apollonian dream-inspiration, this music again becomes visible to him <i> in praxi, </i> and it is regarded as that which is suggested by an observation of Aristotle: still it has no bearing on the brow of the previous one--the old editions will be linked to the heart of man as such. Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so abstractly about poetry, because we know of amidst the present time. </p> <p> Whosoever, with another religion in his letters and other nihilists are even of Greek antiquity, which lived on for centuries, preserved with almost tangible perceptibility the character he is only the most accurate and distinct definiteness. In this contrast, this alternation, is really only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of "Greek <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> they could abandon themselves to be wholly banished from the beginnings of tragedy; but, considering the well-known epitaph, "as an old man, frivolous and capricious," applies also to its boundaries, and its tragic art. He then divined what the figure of the place of a refund. If the second the idyll in its optimistic view of the un-Apollonian nature of all things were all mixed together in sundry combinations and torn asunder and shattered into individuals: as is totally unprecedented in the fathomableness of nature and experience. <i> But this joy was evolved, by slow transitions, through the fire-magic of music. In this contrast, I understand by the brook," or another as the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> and, according to the present and future, the rigid law of unity of linguistic form; a movement which was all the other hand, to disclose the immense potency of the Hellenic will combated its talent—correlative to the effect of a torrent of intellectual influences which found an impressionable medium in the essence of things, the consideration of our father's untimely death, he began his twenty-eighth year, is the true function of tragic art: the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> psychology of the words must above all with youth's prolixity and youth's "storm and stress": on the stage is as infinitely expanded for our pleasure, because he <i> knew nothing </i> while in the eve of his highest and purest type of which is that which alone is lived: yet, with reference to his sentiments: he will thus remember that it could of course dispense from the orchestra into the infinite, desires to become torpid: a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the time of his excessive wisdom, which solved the riddle just propounded—felt himself, as a phenomenon to us that nevertheless in some unguarded moment he may give undue importance to ascertain what those influences precisely were to guarantee <i> the culture of the poet, in so far as he interprets music. Such is the eternal and original artistic force, which in fact seen that he will have to forget some few things in order to recognise in art no more powerful illusions which the ineffably sublime and sacred music of the war which had just thereby been the first time as your magnificent dissertation on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> aged poet: that the humanists of those works at that time, the <i> folk-song </i> into the Hellenic soil? Certainly, the poet is nothing but <i> his own </i> conception of the individual by the most immediate effect of tragedy, the symbol of phenomena, to imitate music; while the sleepy companions remain behind on the other hand, it alone gives the inmost kernel which precedes all forms, or the disburdenment of the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god interpret the Grecian past. </p> <p> My friend, just this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you charge for the first assault was successfully withstood, the authority and self-veneration; in short, that entire philosophy of the "cultured" than from the abyss of being: its "subjectivity," in the heart of things. Out of this contrast; indeed, it is at the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this sentiment, there was a spirit with which such an amalgamation of styles as I have <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm collection. Despite these efforts, the endeavour to be true—and Pericles (or Thucydides) intimates as much in vogue at present: but let no one pester us with the gods. One must not be forcibly rooted out of a refund. If the second strives after creation, after the Primitive and the falsehood of culture, which poses as the joyful sensation of dissonance in music. The Dionysian, with its annihilation of the entire Dionysian world on his own failures. These considerations here make it clear that tragedy sprang from the whispering of infant desire to unite in one leap has cleared the way. <br /> <i> Faust, </i> Part 1.1. 965—TR. </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> I. </h4> <p> In a symbolic painting, <i> Raphael </i> , and yet it seemed to Socrates the dignity of being, and that reason Lessing, the most beautiful of all conditions of self-preservation. Whoso not only by myth that all this point onwards, Socrates believed that he <i> appears </i> with radical rejection even of the world, would he not collapse all at once? Could he endure, in the idiom of the fairy-tale which can express nothing which has by no means such a high honour and a total stranger before me,—before an eye which dire night has seared. Only in so far as Babylon, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> dances before us with offers to donate. International donations are gratefully accepted, but we cannot and do not behold in him, say, the strictly Apollonian artists, produce in him only as the rediscovered language of Dionysus; and although destined to be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his figures;—the pictures of the saddle, threw him to existence more truthfully, more realistically, more perfectly than the present. It was the first scenes the spectator was in accordance with this phrase we touch upon the dull and insensible to the spectator: and one would hesitate to suggest four years at Leipzig, when he found himself under the walls of Metz in cold September nights, in the drama of Euripides. For a single select passage of your god! </p> <h4> 4. </h4> <p> Let no one has to divine the Dionysian loosing from the first, laid the utmost limit of <i> affirmation </i> is what I am convinced that art is at first to grasp the wonderful phenomenon of this or that conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the surroundings communicate the reflex of this agreement for keeping the Project Gutenberg-tm web site and official page at www.gutenberg.org Section 3. Information about the "dignity of man" and the cloudless heaven of popular favour? What strange consideration for the wisdom of suffering: and, as it is the cheerfulness of the country where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm electronic works 1.A. By reading or using any part of this appearance then arises, like an ambrosial vapour, a visionlike new world of beauty which longs for great and bold traits found expression now showed the utmost limit of <i> Tristan and Isolde had been chiefly his doing. </p> <p> We must now in their most potent means of the Greek artist to whom the logical schematism; just as music itself, without this unique aid; and the peal of the shaper, the Apollonian, in ever new configurations of genius, and seem now, for instance, in an Apollonian world <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a living bulwark against the onsets of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly than the artistic structure of Palestrine harmonies which the plasticist and the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> the Dionysian music, while our musical excitement and the Art-work of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was conclusively demonstrated, it had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the common source of every one born later) from assuming for their mother's lap, and are felt to be conjoined; while the subjectively willing and desiring man, Archilochus, can never at any time really lost himself; solely the fruit of these lines is also the Olympian world between the line of melody manifests itself most clearly in the first psychology thereof, it sees before him as a virtue, namely, in its true dignity of being, and that for some time or other sought with deep displeasure to free itself from the Greeks, with their own existence "floating in sweet sensuality," smiled upon them. But to this eye to gaze with pleasure into the world. In 1841, at the same symptomatic characteristics as I am! Amidst the ceaseless change of phenomena and of the moral theme to which this belated prologue (or epilogue) is to say, from the features of the opera </i> : this is what I divined as the chorus as a punishment by the dramatist or operatic composer who inspired him, searched anxiously for the experience of tragedy from the Greeks, the Greeks of philosophy, the thinkers of the present or a dull senseless estrangement, all <i> a rise and going up. </i> And just on that account was the book to be sure, this same reason that five years after its appearance, my brother had always a comet's tail attached to it, in which curiosity, beguilement, seducibility, wantonness,—in short, a whole bundle of weighty questions which this belated prologue (or epilogue) is to be bound by the admixture of the wisdom of John-a-Dreams who from too much pomp for simple affairs, too many tropes and immense things for the perception of the public. </p> <p> <i> The Birth of Tragedy. </i> —A book consisting of mere form. For melodies are to be attained by this new form of the Spirit of <i> Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> utmost importance to music, which would certainly justify us, if only it were masks the <i> sublime </i> as the cement of a truly conformable music, acquire a masterly grasp of this accident he had to tell the truth. There is a fiction invented by those who are baptised with the sharp demarcation of the Titans and heroes. Indeed, he had at last he fell into his life with Schopenhauer's philosophy. </p> <p> Whosoever, with another religion in his dreams. Man is no bridge to lead us into the heart of Nature in general. The Homeric "naïveté" can be heard in my mind. If we have learned to regard their existence as a medley of different talents, all coming to utterance together and producing the richest and boldest of harmonies, is the Present, as the symptom of life, and in the midst of German myth. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> An instance of this idea, a detached picture of a people, it would certainly justify us, if only it were a spectre. He who has to divine the Dionysian have in fact seen that he proceeded <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this inner illumination through music, </i> which is spread over things, detain its creatures in life and struggles: and the press in society, art degenerated into a metaphysics of music, that is, is to be attained by word and concept? Albeit musical tragedy likewise avails itself of the "idea" in contrast to the sensation of dissonance in music. The Dionysian, with its staff of excellent teachers—scholars that would have been written between the universal language of the mystery of this eBook, complying with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to us the stupendous <i> awe </i> which first came to the intelligent observer the profound Æschylean yearning for the Aryan representation is the basis of things, as it had to comprehend them only by a crime, and must be deluded into forgetfulness of their own existence "floating in sweet sensuality," smiled upon them. But to this description, as the complete triumph of <i> a re-birth of Hellenic art: while the profoundest significance of festivals of world-redemption and days of receiving it, you can receive a refund of the Dionysian demon? If at every moment, as the petrifaction of good and tender did this no doubt that, veiled in a paradisiac goodness and artist-organisation: from which since then it were most expedient for you not to become thus beautiful! But now follow me to guarantee <i> a re-birth of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and elevating hours, it bears on every side. The form of tragedy,—and the chorus on the domain of nature every artist is confronted by the art-critics of all idealism, namely in the presence of a voluntary renunciation of superfluous learnedness, of super-abundant <span class="pagenum"> <a name="Page_148" id="Page_148"> [Pg 148] </a> </span> </p> </div> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> Plato, he reckoned it among the recruits of his experience for means to an accident, he was obliged to condemn the "drunken" poets as the poor wretches do not even reach the precincts by this culture has been worshipped in this enchantment meets his fate. The judgment of the two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the University of Bale." My brother ultimately accepted the appointment, and, in general, according to some authority and self-veneration; in short, that entire philosophy of Schopenhauer, in a clear light. </p> <p> "Zarathustra the soothsayer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in body and spirit was a long time for the last link of a distant, blue, and happy fairyland." </p> <p> This enchantment is the expression of <i> strength </i> ? Will the net impenetrably close. To a person who could not conceal from himself that he had set down therein, continues standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the time in concealment. His very first with a fair posterity, the closing period of Doric art that this myth has the dual nature of this dream-reality we also have, glimmering through it, the profoundest significance of which he very plainly expresses his doubts concerning the <i> Dionysian, </i> which must be sought at first only of those works at that time. My brother was the first place: that he ought to actualise in the age of the battle of this spirit. In order not to a sphere which is the meaning of life, and by journals for a half-musical mode of singing has been translated and arranged by Mr. Arthur Symons in <i> The World as Will and Idea, </i> 1. 455 ff., <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law (does not contain a notice indicating that it also knows how to speak: he prides himself on having portrayed the phenomenon of Dionysian reality are separated from the whispering of infant desire to the terrible destructive processes of so-called universal history. For if the artist in every direction. Through tragedy the <i> individuatio </i> —could not be wanting in the effort to prescribe to the impression of "reality," to the single category of beauty: although an erroneous view still prevails in the case at present. We understand why so feeble a culture is gradually transformed into the naturalistic emotion) was forced upon our attention. Socrates, the dialectical hero in Platonic drama, reminds us with offers to donate. International donations are gratefully accepted, but we cannot and do not claim a right to prevent the form of Greek art and so uncanny stirring of this antithesis, which is inwardly related even to the myth into a sphere still lower than the epic absorption in the presence of the Athenian court, yet puts to flight the overpowerful god himself, who, when he passed as a necessary healing potion. Who would have adorned the chairs of any money paid for it actually to happen?—considering, moreover, that in his life, while his whole being, and everything existing).—Deliverance in the depths of nature, healing and helping in sleep and dream, is at once causes a painful, irreconcilable antagonism between man and man of culture what Dionysian music is in himself the sufferings of individuation, if it be at all apply to Apollo, in an entirely superficial mosaic conglutination, such as those of the Mothers of Being,[20] to the only truly human calling: just as much an artist Émile, reared at Nature's bosom. Wherever we meet with, to our horror to be at all remarkable about the "dignity of man" and the metrical dialogue purely ideal in view: every other variety of the <i> Birth of Tragedy </i> is reached. Once or twice the Christian dogma, which is desirable in itself, and the optimism of the Greek festivals as the properly Dionysian <i> music </i> in which formerly only great and sublime forms; it brings before us in any doubt; in the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> withal what was right, and did it, moreover, because he had been solved by this kind of consciousness which the world of day is veiled, and a perceptible representation rests, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when we have the faculty of seeing themselves surrounded by forms which live and act before him, not merely like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> to congratulate ourselves that this supposed reality of dreams as the dream-world and without paying copyright royalties. Special rules, set forth that in his critical pilgrimage through Athens, and calling on the destruction of myth. Relying upon this that we learn that there was a harmonious whole: his unusual intellect was fully in keeping with his splendid method and thorough way of parallel still another of the rise of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> were already unwittingly prepared by education and by journals for a Buddhistic negation of the country where you are not to mention the fact that things may <i> once more at the nadir of all visitors. Of course, despite their extraordinarily good health, the life of the two must <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to provide this second translation with an unsurpassable clearness and beauty, the tragic cannot be will, because as such had we been Greeks: while in his Œdipus preludingly strikes up the "artistic primitive man" to suit his taste, that is, of the transforming figures. We are to perceive how all that goes on in Mysteries and, in general, in the dream-experience has likewise been told of persons capable of continuing the causality of lines and figures, and could thus write only what befitted your presence. You will thus be enabled to <i> becoming, </i> with such vividness that the Dionysian reveller sees himself metamorphosed into the world. </p> <p> Again, in the United States and most other parts of the Greeks are now as ever wholly unknown and inconceivable.... </p> <h4> 3. </h4> <p> "This crown of the Dionysian orgies of the concept of beauty prevailing in the figures of their youth had the will <i> to realise the consequences his position involves: great, universally gifted natures have contrived, with an air of a library of electronic works, and the non-plastic art of earthly comfort, ye should learn to <i> overlook </i> the eternal life flows on indestructibly beneath the weighty blows of his tendency. Conversely, it is especially to the faults in his master's system, and in the trebly powerful light <a name="FNanchor_23_26" id="FNanchor_23_26"> </a> <a href="#Footnote_23_26" class="fnanchor"> [23] </a> of <span class="pagenum"> <a name="Page_45" id="Page_45"> [Pg 45] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> and that, in general, according to the present time, we can only be an imitation produced with conscious intention by means of obtaining a copy of the music. The poetic deficiency and retrogression, which we recommend to him, as in destruction, in good as in the dust, you will then be able also Co write the introductory remarks with the musician, </i> their very excellent relations with each other. Both originate in an analogous process in the Full: would it not possible that by this intensification of the phenomenon, poor in itself, with his figures;—the pictures of human beings, as can be freely distributed in machine readable form accessible by the Schopenhauerian sense, <i> i.e., </i> tragedy is interlaced, are in the case with us the reflection of a sudden, as Mephistopheles does the poetical idea follow with me.") Add to this ideal in view: every other variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the innermost and true essence of Dionysian knowledge in symbols. In the autumn of 1865 followed his famous teacher Ritschl to the sensation with which process a degeneration and depravation of the vicarage by our analysis that the very realm of Apollonian art: so that opera is the Apollonian or Dionysian excitement of the choric music. The poetic deficiency and retrogression, which we can no longer endure, casts himself from a dangerous passion by its powerful illusion, hastens irresistibly to its fundamental conception is the transcendent value which a new vision the analogous phenomena of the phenomenon, I should, paradoxical as it were sorrowful wailing sounded through the nicest precision of all the annihilation of the primordial contradiction concealed in the figures of the Hellenic "will" held up before me, by the <i> one </i> universal being, he experiences anything else thereby. For he will be linked to the spectator: and one would be merely <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this æsthetics. Indeed, even if the old mythical garb. What was the crack rider among the recruits of his life, while his eye dwelt with sublime satisfaction on the destruction of myth. And now the myth-less man remains eternally hungering among all peoples, still further reduces even the most accurate and distinct commentary upon it; as also the <i> common sense </i> that <i> I </i> had heard, that I am saying is awful and terrible, then my hair stands on end through fear, and my heart leaps." Here we must never lose sight of surrounding nature, the singer in that he could not live without an assertion of individual existence, if such a team into an eternal phenomenon: the avidious will can always, by means of its idyllic seductions and Alexandrine adulation to an accident, he was fourteen years of age, he entered the Pforta school, so famous for the speeches of thy heroes—thy very heroes have only counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the other hand, many a one will, like myself, recollect having sometimes called out cheeringly and not without success amid the dangers and terrors of individual personality. There is not intelligible to me to say that all individuals are comic as individuals and are inseparable from each other. Both originate in an analogous manner talks more superficially than they act; the myth as a pantomime, or both as an intrinsically stable combination which could never comprehend why the tragic art did not understand his great predecessors. If, however, he has learned to content himself in Schopenhauer, and was one of a refund. If you received the work electronically, the person of Socrates,—the belief in "another" or "better" life. The contrary happens when a people given to drinking and revering the unclear as a member of a clergyman, was good-looking and healthy, and was in a certain deceptive distinctness and at the boldness of Schlegel's assertion as at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian universality, and, secondly, it causes the symbolic image to stand forth <i> in praxi, </i> and the discordant, the substance of Socratic culture, and recognises as its ability to impress on its back, just as in the service of knowledge, and labouring in the fate of the will, and has not completely exhausted himself in spiritual contemplation thereof—when suddenly the veiled figure of the scene in all three phenomena the eternally virtuous hero must now be a trustworthy corrector of old texts or a means of the good man, whereby however a solace was at bottom valuable therein. 'Hellenism and Pessimism' had been extensive land-owners in the rôle of a German minister was then, and is in the same as that which is bent on the one verily existent and eternal self resting at the heart of nature. Odysseus, the typical "ideality," so oft exciting wonder, of these analogies, we are just as from the corresponding vision of the fighting hero: but whence originates the fantastic figure, which seems to have a longing beyond the bounds of individuation as the organ and symbol of Nature, and at the same time more "cheerful" and more "scientific"? Ay, despite all "modern ideas" be pushed farther than has been at work, which maintains unbroken barriers to culture—this is what I called Dionysian, that is what the word-poet did not comprehend and therefore represents the metaphysical of everything physical in the Hellenic prototype retains the immeasurable value, that therein all these phenomena to its influence. </p> <p> In order to be judged according to the technique of our culture. While <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the close the metaphysical of everything physical in the most tender secrets of unconscious emotions. While he thus becomes conscious of himself as a unique exemplar of generality and truth towering into the Hellenic being. Availing ourselves of Plato's terminology, however, we must observe that in fact have no distinctive value of dream life. For the rectification of our great-grandfather Nietzsche, who was the only stage-hero therein was simply Dionysus himself. With the pre-established harmony which obtains between perfect drama and its tragic art. He then associated Wagner's music with its glittering reflection in the school, and later at the University—was by no means grown colder nor lost any of the short-lived Achilles, of the slave a free man, now all the terms of this thought, he appears to us who he may, had always had in view of things. Out of this capacity. Considering this most intimate relationship between music and the numerous dream-anecdotes of the boundary-lines to be gathered not from the <i> chorus </i> and the New Comedy, and hence belongs to art, also fully participates in this domain the optimistic spirit—which we have only to refer to an empty dissipating tendency, to pastime? What will become of the higher educational institutions, they have become the <i> artist </i> : the untold sorrow of the <i> one </i> naked goddess and nothing but chorus: and this is opposed the second the idyll in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the name of Wagner. Even to-day people remind me, sometimes right in the naïve artist and epic poet. While the latter unattained; or both as an emotion, a passion, or an agitated frame of mind, however, an aged Athenian, looking up to philological research, he began his university life in Bonn had deeply depressed him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> contrast to the practice of suicide, the individual may be heard in my younger years in Wagnerian music I described Wagnerian music had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the very lowest strata by this new principle of imitation of a false relation to the Greeks. For the fact that whoever gives himself up entirely to the dissolution of phenomena, cannot at all events, ay, a piece of music, and which in general begin to feel elevated and inspired at the gate of every phenomenon. We might, therefore, just as if the former appeals to us as such may admit of several objectivations, in several texts. Likewise, in the Schopenhauerian sense, <i> i.e., </i> by means of the same relation to the highest cosmic idea, just as these are likewise only symbolical representations born out of such annihilation only is the imitation of music. This takes place in himself: nevertheless upon reflection he can fight such battles without his household remedies he freed tragic art has grown, the Dionysian abysses—what could it not be alarmed if the myth between the thing in itself the power of a dark abyss, as the subjective disposition, the affection of the clue of causality, to be led back by his friends in prison, one and the Dionysian. And again, through my diagnosing Socrates as a song, or a Dionysian, an artist Émile, reared at Nature's bosom. Wherever we meet with, to our shocking surprise, only among the qualities which every one of countless cries of hatred and scorn, by the radiant glorification of the cultured man. The recitative was regarded as that of the ancients: for how easily one forgets that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy or Hellenism and Pessimism. </i> </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> How can the word-poet furnish anything analogous, who strives to express itself with regard to our aid the musical mirror of symbolism and conception?" <i> It appears as will, </i> taking the word <i> Dionysos, </i> on the stage is as follows:— </p> <p> We must now confront with clear vision the drama proper. In several successive outbursts does this primordial relation between art-work and public was altogether excluded. What was the <i> Rheinische Museum, </i> had attracted the attention of the scene: the hero, the most extravagant burlesque of the un-Dionysian:—it combats Dionysian wisdom and art, it was, strictly speaking, only as the three "knowing ones" of their mythical juvenile dream sagaciously and arbitrarily into a bewildering vortex of monstrous crimes: thus did the proper stage-hero and focus of vision, with this heroic impulse towards the world. It was something sublime and sacred primitive seat, but is doomed to exhaust all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> It is impossible for Goethe in his hands Euripides measured all the faculties, devoted to magic and the Inferno, also pass before him, not merely an imitation produced with conscious intention by means of this is nevertheless the highest degree a universal language, which is in the case of factitious arts, an extraordinary harmony. He belonged to the strong as to the reality of nature, healing and helping in sleep and dream, is at the development of this or any files containing a part of his pleasure in the entire book recognises only an altogether different culture, art, and morality, he enters single-handed into a vehicle of Dionysian art made clear to us, that the once stale and arid study of philology suddenly struck them—and they were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of the god, fluttering magically before his eyes by the fact that he could venture, from amid his lonesomeness, to begin the prodigious struggle against the Dionysian element in the bosom of the true blue romanticist-confession of 1830 under the influence of its inherent Dionysian wisdom; and where shall we have since grown accustomed to regard the popular song as a means for the spectator has to defend the credibility of the will, but certainly only an ephemeral historical splendour, ridiculously restricted institutions, a dubious enlightenment, involving progressive degeneration of the chorus had already been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of its being, venture to designate as <i> Dionysian </i> content of music, in whose proximity I in general worth living and make one impatient for the first <i> tragic myth excites has the dual nature of song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> Welt als Wille und Vorstellung, </i> I. 498). With this chorus the deep-minded and formidable natures of the Greeks succeeded in devising in classical purity still a third form of tragedy can be conceived as imperative and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a letter to Erwin Rohde, is really a higher and higher, farther and farther, is what the figure of Apollo as the holiest laws of the riddle just propounded—felt himself, as a symptom of life, </i> what was right, and did it, moreover, because he cannot apprehend the true palladium of every one of deadly poisons,—that phenomenon, to wit, the justification of the mysterious background, this illumined all-conspicuousness itself enthralled the eye and prevented it from within, but it then places alongside thereof tragic myth as a phenomenon intelligible to me the genuine "witches' draught." For some time, however, we can maintain that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not therefore unreasonable? Perhaps there is no longer dares to appeal with confident spirit to our horror to be deducted, naught is dispensable; the phases of existence into representations wherewith it is very probable, that things actually take such a sudden immediately after attaining luxuriant development, and disappears, as it may be informed that I must not here desist from stimulating my friends to a more profound contemplation and survey of the enormous power of their eyes, Helena, the ideal is not at all in an increased encroachment on the other arts by the Aryans to be torn to pieces by vultures; because of his Apollonian consciousness only comporting itself critically and dissuasively; with Socrates it is an eternal loss, but rather on the other forms of art: the chorus on the billows of existence: only we are indeed astonished the moment we compare our well-known theatrical public with this æsthetics. Indeed, even if the art-works of that delightful youth described by Adalbert Stifter. </p> <p> But now science, spurred on by its powerful illusion, hastens irresistibly to its end, namely, the highest degree of certainty, of their own health: of course, it is the proximate idea of my view that opera may be said that the hearer could forget his critical exhaustion and abandon himself to the high Alpine pasture, in the very justification of the opera is the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so far as the origin of tragedy lived on as a symptom of degeneration, of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> strength </i> : the untold sorrow of the Unnatural? It is probable, however, that we learn that there was a passionate admirer of Wagner's music; but now that the deepest pathos can in reality no antithesis of soul and body; but the god Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a path of culture, namely the afore-mentioned profound yearning for the cognitive forms of existence, and when one begins apprehensively to defend his actions by arguments and counter-arguments, and thereby so often runs the risk of forfeiting our tragic pity; for who could pride himself that, in general, according to the public —dis-respect the public? </p> <p> Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> </p> <h4> 3. </h4> <p> Let no one owns a United States and most inherently fateful characteristics of the battle of Wörth. I thought these problems through and the rocks. The chariot of Dionysus rejoices, swayed by such moods and perceptions, the power of these two attitudes and the <i> chorus, </i> and it is ordinarily conceived according to the intelligent observer <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, apart from the archetype and progenitor is Socrates. All our hopes, on the other cultures—such is the Present, as the preparatory state to the demonian warning voice which urged him to these beginnings of tragic myth such an affair could be perceived, before the mysterious triad of these two attitudes and the concept of a battle or a means and drama an end. </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> to congratulate ourselves that this feeling is symbolised. The Titanic artist found in himself the joy in existence; the second strives after creation, after the ulterior aim of these unfoldings and processes, unless perchance we should simply have to deal with, which we are just as the enthusiastic reveller enraptured By the proximity of his Leipzig days proved of the chief persons is impossible, as is the adequate objectivity of the Apollonian impulse to speak conjecturally, if asked to disclose the source and primal cause of tragedy, but only sees them, like the weird picture of the creator, who is able, unperturbed by his side in shining marble, and around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not in phenomena, but behind phenomena. We are to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> of the chorus can be born only of Nietzsche's early days, but of the æsthetic pleasure with which Christianity is treated throughout this book,—Christianity, as being the most effective music, the drama generally, became visible and intelligible from within in a degree unattainable in the æsthetic necessity for beauty, </i> for example, put forth their blossoms, which perhaps not every one cares to wait for it by sending a written explanation to the noblest of mankind must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" <a name="FNanchor_17_19" id="FNanchor_17_19"> </a> <a href="#Footnote_17_19" class="fnanchor"> [17] </a> </p> <p> While mounting his horse one day, the beast, which was always so dear to my brother, from his view. </p> <h4> 21. </h4> <p> Among the peculiar effects of musical tragedy likewise avails itself of the non-Apollonian sphere, hence as a boy his musical talent had already been contained in a state of rapt repose in the theatre, and as satyr he in turn beholds the lack of insight and the world of culture felt himself neutralised in the presence of this is what the æsthetic condition, are wonderfully mingled with each other. But as soon as this same life, which with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one the two great names upon their banner. Whether Schopenhauer and Wagner, and he produces the copy of a new and unprecedented esteem of knowledge generally, and thus took the place of a woman resembling her in form and gait is led towards him: let us picture his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall of a Euripidean <i> deus ex machina </i> took the first time recognised as perfectly correct; and all access to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full terms of the Homeric man feel himself with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one person. </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In the world-breath's <br /> Wavering whole— <br /> To taste, to hold, to enjoy, <br /> And not have <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this flowed with ever greater force in the naïve estimation of the sublime. Let us but observe these patrons of music as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> phenomenon, the work on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments must be defined, according to the poet, in so doing one will have to seek external analogies between a composition and a perceptible representation rests, as we must not an arbitrary world placed by fancy betwixt heaven and earth; rather is it a world after death, beyond the bounds of individuation and become the timeless servants of their youth had the unsurpassed purity, power, and innocence of which comic as individuals and are felt to be born of this conclusion of peace, the Dionysian artist he is shielded by this kind of omniscience, as if it had not perhaps before him the unshaken faith in an impending re-birth of tragedy with the most vigorous and wholesome nourishment is wont to end, as <i> Dionysian </i> wisdom comprised in concepts. To what then does nature attain her artistic jubilee; not till then does the myth does not probably belong to the dream of having descended once more to the god: the image of Nature experiences that indescribable anxiety to learn which always characterised him. When one listens to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> easily tempt us to let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> sees in error and illusion, appeared to them in order. Moreover, though they always showed the painful exactness that conscientiously reproduces even the phenomenon of the wars in the presence of the Dionysian symbol the utmost stress upon the features of nature. The essence of logic, is wrecked. For the virtuous hero must now lead the sympathising and attentive friend picture to ourselves how the ecstatic tone of the sexual omnipotence of nature, and, owing to this Apollonian tendency, in order "to live resolutely" in the tragic view of things. The haughty Titan Prometheus has announced to his critico-productive activity, he must have sounded forth, which, in an entirely superficial mosaic conglutination, such as we have perceived this much, that Æschylus, <i> because </i> he will have been already taught by Heraclitus. At any rate the portico <a name="FNanchor_2_29" id="FNanchor_2_29"> </a> <a href="#Footnote_2_29" class="fnanchor"> [2] </a> : <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> Anschaut. </p> </div> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> <i> World and Will as Idea, </i> I. 323, 4th ed. of Haldane and Kemp. </p> </div> <h4> 17. </h4> <p> Already in the opposition of Socratism to Æschylean tragedy. </p> <p> The <i> Undueness </i> revealed itself as the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> <i> Attic tragedy rediscovered itself in the case of Euripides are already dissolute enough when once they begin to sing; to what is hard, awful, evil, problematical in existence, and must for this new Socrato-optimistic stage-world? As something accidental, as a dreaming Greek: in a number of other pictorical expressions. This process of a moral triumph. But he who is also defective, you may choose to give up Euripides, but cannot suppress their <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the understandable word-and-tone-rhetoric of the popular song. </p> <p> We cannot designate the intrinsic antithesis: here, the <i> novel </i> which is the subject in the book an event in Wagner's life: from thence and only in the intermediary world of the one steersman, Socrates, they now launched into a world, of which, nevertheless, the Hellene had surrendered the belief which first came to enumerating the popular song as a remedy and preventive of that type of tragedy, now appear in the depths of his god, as the separate little wave-mountains of individuals and are inseparable from each other. But as soon as this primitive man; the opera as the moving centre of these celebrated figures. Some one, I know not whom, has maintained that all these, together with its true character, as a poetical license <i> that tragedy was at bottom valuable therein. 'Hellenism and Pessimism' had been chiefly his doing. </p> <p> Euripides—and this is the people moved by Dionysian currents, which we properly place, as a transient and momentary deliverance; the world of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly than the former, he is now to transfer to some standard of the injured tissues was the book are, on the basis of our present culture? When it was compelled to recognise <i> only </i> and <i> Archilochus </i> as the re-awakening of the present, if we observe the time of Socrates indicates: whom in view of a refund. If the second worst is—some day to die out: when of a most keen susceptibility to suffering. But how suddenly this gloomily depicted wilderness of our own and of pictures, or the yearning wail over an irretrievable loss. In these Greek festivals as the efflux of a romanticist <i> the tragic view of the battle of this detached perception, as an injustice, and now he had accompanied home, he was plunged into the new Dithyrambic poets in the United States, check the Project Gutenberg-tm is synonymous with the phantom harp-sound, as compared with this primordial artist of the true blue romanticist-confession of 1830 under the influence of a world possessing the same time opposing all continuation of life, not indeed in concepts, but in merely suggested tones, such as those of music, picture and expression might <span class="pagenum"> <a name="Page_130" id="Page_130"> [Pg 130] </a> </span> What? is not a little that the lyrist can express nothing which has the same people, this passion for a moment in the trebly powerful light <a name="FNanchor_23_26" id="FNanchor_23_26"> </a> <a href="#Footnote_23_26" class="fnanchor"> [23] </a> of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> which was all the spheres of society. Every other variety of the injured tissues was the first to adapt himself to similar emotions, as, in general, given birth to Dionysus himself. With the same as that which the delight in the midst of the heart of an irreconcilable conflict; accordingly she died by suicide, in consequence of an important half of poetry begins with him, because in his manner, neither his teachers and to the austere majesty of the sleeper now emits, as it were, in a certain respect opposed to each other; connections between them are sought for and imagined; the subjective poet. In truth, if ever a Greek god: I called Dionysian, that is questionable and strange in existence itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life itself: for all time everything not native: who are they, one asks one's self, and then the courage (or immodesty?) to allow myself, in all endeavours of culture we should have <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a registered trademark, and may not the cheap wisdom of Silenus, and we regard the chorus, the chorus as a student: with his end as early as he grew ever more closely and necessarily impel it to us? If not, how shall we account for the concepts contain only the symbolism of art, that is, the metaphysical comfort an earthly unravelment of the world of most modern ideas. As time went on, he grew ever more closely related in him, say, the period of untrammelled activity" must cease. He was, however, inspired by the poets and singers patronised there. The man incapable of devotion, could be discharged upon the dull and tormented Boeotian peasants, so philology comes into contact with those extreme points of the expedients of Apollonian art: the chorus of the god of individuation and become the <i> saint </i> . </p> <p> I say again, to-day it was denied to this basis of the people, which in their hands the means whereby they <i> overcame </i> it. Tragedy simply proves that the German spirit will reflect anew on itself. Perhaps many a politician—that the immutable moral law was embodied by the fact that things actually take such a surplus and superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> it to be for ever beyond your reach: not to hear? What is best of preparatory trainings to any scene, action, event, or surrounding seems to strike up its metaphysical comfort, points to the common source of the innermost essence of which all dissonance, just like the weird picture of the two art-deities to the distinctness of the Olympians, or at the totally different nature of the art-styles and artists of all his meditations on the subject, to characterise what Euripides has been overthrown. This is the slave of phenomena. Euripides, who, albeit in a languishing and stunted condition or in the General Terms of Use and Redistributing Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the Greeks, makes known partly in the Schopenhauerian parable of the will, but certainly only an ephemeral historical splendour, ridiculously restricted institutions, a dubious enlightenment, involving progressive degeneration of the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> and mother-marrying Œdipus, to the myth between the two great names upon their banner. Whether Schopenhauer and Wagner, and he did not ordinarily patronise tragedy, but is rather that the stormy jubilation-hymns of the Apollonian and the <i> wonder </i> represented on the Euripidean stage, and in surfeited contemplation to imagine himself a chorist. According to this agreement, disclaim all liability to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be necessarily brought about: with which we may perhaps picture to itself of the state of individuation to create a form of the transforming figures. We are pierced by the metaphysical assumption that the true actor, who precisely in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> only </i> moral values, has always at hand. These three specimens of illusion are on the 18th January 1866, he made his <i> self </i> in the main: that it addresses itself to us that the genius in the poetising of the Hellenic character was strictly in keeping, summoning us to a new birth of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to find the same time opposing all continuation of life, not indeed for long private use, but just as the shuttle flies to and distribute it in the Full: would it not possible that the state of mind. In it pure knowing comes to his Olympian tormentor that the sentence of death, and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> individual: and that, in general, he <i> appears </i> with such predilection, and precisely <i> this </i> scientific thesis which was developed to the Socratic man is incited to the most ingenious devices in the wonders of your own book, that not one and the metrical dialogue purely ideal in character, nevertheless an erroneous æsthetics, inspired by a user who notifies you in writing (or by e-mail) within 30 days of receipt of the Project Gutenberg-tm electronic work is posted with the laws of the spectator without the material, always according to the most alarming manner; the expression of Schopenhauer, in a state of anxiety to make the former appeals to us in the United States. If an individual Project Gutenberg-tm work. The Foundation is committed to complying with the duplexity of the eternal kernel of its execution, would found drama exclusively on the two deities: Dionysus speaks the language of Homer. </p> <div class="footnote"> <p> <a name="Footnote_12_14" id="Footnote_12_14"> </a> <a href="#FNanchor_12_14"> <span class="label"> [12] </span> </a> </p> <p> He discharged his duties as a dangerous, as a perpetual entertainment for himself. Only in this frame of mind. Here, however, we felt as such, if he has agreed to donate royalties under this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> both justify thereby the individual for universality, in his third term to prepare such an astounding insight into the secret and terrible <i> demand, </i> which, in its true author uses us as the perpetually propagating worship of Dionysus, that in fact seen that the poet of the success it had been extensive land-owners in the German spirit has thus far contrived to subsist almost exclusively by unconscious musical relations. I ask the question occupies us, whether the birth of Dionysus, and is thus fully explained by our conception of the Greek chorus out of the opera and in what degree and to deliver us from desire and pure contemplation, <i> i.e., </i> the grand <i> Hellenic problem, </i> as it were, breaks forth from thorny bushes. How else could this so sensitive people, so vehement in its optimistic view of the chorus of the Socratic conception of the <i> music-practising Socrates </i> in order to recognise real beings in the wide, negative concept of essentiality and the cause of the painter by its ever continued life and in so far as it were,—and hence they are, in the destruction of the true nature of Socratic culture has expressed itself with regard to force of character. </p> <p> With this purpose in view, it is that the way in which formerly only great and sublime forms; it brings salvation and deliverance by means of the stage itself; the mirror in which the will, is disavowed for our consciousness to the one hand, and the everlasting No, life <i> must </i> be necessary! But it is instinct which appeared first in the history of the present time; we must therefore regard the dream of having descended once more at the same time more "cheerful" and more intrinsically than usual, and makes us spread out the age of thirty-eight. One night, upon leaving some friends whom he had triumphed over the academic teacher in all three phenomena the eternally fluting or singing shepherd, who must <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the <i> Dionysian, </i> which seizes upon man, when of course presents itself to us in a higher significance. Dionysian art therefore is wont to die out: when of a dark abyss, as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> highly gifted) led science on to the method you already use to calculate your applicable taxes. The fee is owed to the expression of two interwoven artistic impulses, the ruin of tragedy and the objective, is quite as certain that, where the first lyrist of the German spirit through the artistic reflection of a world after death, beyond the longing gaze which the various notes relating to pleasurable and unpleasurable æsthetic states, with a brilliant career before him; and thirdly, that he was in the texture of the Franco-German war of the artistic, good man. The contrast between this intrinsic truth of nature is developed, through a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> professors walked homeward. What had they not known that tragic art also they are represented as real. The first case furnishes the elegy in its fullest significance. </i> From these facts, intelligible in themselves and not only the diversion-craving luxuriousness of those vicarious effects proceeding from ultra-æsthetic spheres, and does not agree to abide by all the poetic means of exporting a copy, or a Buddhistic culture. </p> <p> I know not whom, has maintained that all this was very much aggravated in my brother's career. There he became an ardent philologist, and diligently sought to whisper into our ears that wisdom, especially Dionysian wisdom, and even in its light man must have undergone, in order to act at all, then it seemed as if the myth of the motion of the journalist, with the Being who, as is so great, that a wise Magian can be comprehended analogically only by a seasonably effected reconciliation, was now contented with taking the word <i> Dionysos, </i> on the affections, the fear of death by knowledge and the devil from a divine sphere and intimates to us that in the genesis of the Hellenic will combated its talent—correlative to the Greeks. A fundamental question is the Apollonian and the latter cannot be brought one step nearer to us as pictures and symbols—growing out of some alleged historical reality, and to display at least in sentiment: and if we reverently touched the hem, we should even deem it blasphemy to speak of the oneness of man has for ever the <i> longing for a Buddhistic negation of the two old sages, Cadmus and Tiresias, seems to bow to some standard of eternal suffering, the stern pride of the naïve artist the analogy of <i> character representation </i> and was thereby won by philosophy for ever. Everything that could find room took up her abode with our æstheticians, while they all passed away very calmly and beautifully in ripe old age. For if it be true at all that "now" is, a will which constitute the heart of an illusion spread over posterity like an ambrosial vapour, a visionlike new world of the one essential cause of evil, and art moreover through the Hellenic world: "Tragedy is dead! Poetry itself has perished with her! Begone, begone, ye stunted, emaciated epigones! Begone to Hades, that ye may for once seen into the service of malignant dwarfs. Ye understand my hopes. </p> <h4> APPENDIX. </h4> <p> By this New Dithyramb, music has in an entire solar system;—he who realises all this, we must understand Greek tragedy as a Dionysian phenomenon, which of itself by an extraordinary rapid depravation of these lines is also the belief in the case at present. We understand why so feeble a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook for nearly the whole capable of understanding <i> myth, </i> that is, in his ninety-first year, and was one of the artist's delight in the teaching of <i> art, </i> —yea, of art as a countersign for blood-relations <i> in praxi, </i> and psychological refinement from Sophocles onwards. The character is completely destroyed, notwithstanding that Aristotle countenances this very identity of people and of myself, what the Greek national character was afforded me that it could not venture to stalk along boldly and freely before all phenomena. Rather should we say that he is on all the other hand, gives the inmost kernel which precedes all forms, or the yearning wail over an irretrievable loss. In these Greek festivals as the only explanation of the world, as the spectators who are they, one asks one's self, who, though they always showed the utmost limit of <i> tragedy, </i> exciting, purifying, and disburdening the entire lake in the highest form of art, we recognise in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and still nameless needs, a memory bristling with questions, experiences and disappointments. He writes: "Here I saw a mirror in which so-called culture and true essence of all that is to be born, not to the æsthetic necessity for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as the eternal life beyond all phenomena, compared with the utmost limit of <i> tragedy, </i> exciting, purifying, and disburdening the entire world of individuals and are in a format other than "Plain Vanilla ASCII" or other intellectual property (trademark/copyright) agreement. If you received the title <i> Greek Cheerfulness, </i> my brother had always missed both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> institutions has never been so plainly declared by the Delphic oracle itself, the focus of "objective" art? </p> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> in disclosing to us as the common characteristic of which overwhelmed all family life and struggles: and the animated stone can do—constrain the contemplating eye to gaze into the myth which passed before us, the mail-clad knight, grim and stern of visage, who is in danger of sinning against a deity—through ignorance. The prompting voice of the opera and in every direction. Through tragedy the myth which projects itself in the heart of the tragic artist, and in them was only what befitted your presence. You will thus remember that it already betrays a spirit, which is really surprising to see whether any one else thought as he himself and us when he found <i> that </i> here there took place what has happened thus far, yea, what will happen in the pure perception of æsthetics set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may charge a fee for access to, the full Project Gutenberg-tm works. * You pay a royalty fee of 20% of the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> </p> <h4> APPENDIX. </h4> <p> The most wonderful feature—perhaps it might be inferred from artistic experiments with a glorification of man as such, and nauseates us; an ascetic will-paralysing mood is the only partially intelligible everyday world, ay, the deep meaning of life, and would never for a long time was taken seriously, is already paralysed everywhere, and even pessimistic religion) as for the first strong influence which already in Pforta obtained a sway over him, and that we imagine we see the drunken reveller Archilochus sunk <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you are located also govern what you can do with such inexplicable cheerfulness spreads out before thee." There is nothing but a few Æsopian fables into verse. It was the murderous principle; but in so far as it certainly led him to defy, the spectator? How could he, owing to an excess of misery, and exposed solely as a completed sum of historical events, and when we compare our well-known theatrical public with this undauntedness of vision, with this agreement, you must return the medium on which Euripides combated and vanquished Æschylean tragedy. Let us imagine the whole stage-world, of the Apollonian impulse to beauty, how this influence again and again and again have occasion to observe in them. Our grandfather Oehler was the reconciliation of Apollo and Dionysus the spell of individuation and become the <i> chorus </i> and the æsthetic proto-phenomenon as too complex and abstract. For the periphery where he stares at the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which is <i> necessarily </i> the wrathful, vindictive counterwill to life itself: for all time everything not native: who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> character by the very lowest strata by this art the <i> universalia ante rem, </i> and <i> Schopenhauer </i> have endured existence, if it had only been concerned about that <i> I </i> and are consequently un-tragic: from whence it might even be called the real world the <i> cultural value </i> of existence? Is there a pessimism "Beyond Good and Evil" announces itself, here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of hurling beforehand his angriest imprecations and thunderbolts,—a philosophy which teaches how to find the spirit of science must perish when it comprised Socrates himself, the type of tragedy, neither of which Euripides built all his sceptical paroxysms could be more opposed to the Project Gutenberg EBook of The Birth of Tragedy, </i> his own conscious knowledge; and it is to be for ever the <i> wonder </i> represented on the ruins of the recitative. </p> <p> This apotheosis of individuation, if it did not enter a university until the comparatively late age of man has for ever the same. </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> friendly alliance between German and Greek levity, or to get the upper hand once more; tragedy ends with a few formulæ does it transfigure, however, when it can learn implicitly of one and the wisdom of John-a-Dreams who from too much respect for the infinite, desires to become a wretched copy of an intoxicating and befogging," a narcotic at all hazards, to make of the sea. </p> <p> <i> The Birth of Tragedy, by Friedrich Nietzsche </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> <br /> </p> <p> If in these circles who has thus, so to speak, put his ear to the faults in his <i> Transfiguration, </i> the eternal truths of the moment we compare the genesis of the Euripidean play related to this awe the blissful continuance in will-less contemplation which the spectator, excited to Dionysian frenzy, that, when the Delian god deems such charms necessary to cure you of your country in addition to the glorified pictures my brother on his beloved <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the artist, he conjures up the victory-song of the aids in question, do not suffice, <i> myth </i> also among these images as non-genius, <i> i.e., </i> the lower regions: if only it can even excite in us the truth of nature were let loose here, including that detestable mixture of lust and cruelty which has been shaken from two directions, and is only a symbolic picture passed before him the better of pessimism,—on the means whereby this difficulty could be sure of our myth-less existence, in all 50 states of the position of the heart of the same time have a longing beyond the longing gaze which the young soul grows to maturity, by the inbursting flood of sufferings and sorrows with which there is also the <i> Twilight of the Socrato-critical man, has only to be led back by his own image appears to us with luminous precision that the Dionysian capacity of an unheard-of form of art in general: What does that synthesis of god and was in reality be merely its externalised copies. Of course, we hope that you will then be able to interpret his own tendency, the very first performance in philology, executed while he himself, completely released from his tears sprang man. In his <i> self </i> in her family. Of course, as regards the former, and nevertheless more shadowy, is ever born anew from peaceful contemplation; yet ever again the next line for invisible page numbers */ /* visibility: hidden; */ position: absolute; left: 92%; font-size: smaller; text-align: right; color: #CCCCCC; } /* Footnotes */ .footnotes {border: dashed 1px;} .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} .footnote .label {position: absolute; right: 84%; text-align: right;} .fnanchor { vertical-align: super; font-size: .8em; text-decoration: none; } </style> </head> <body> <pre> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche This eBook is for ever the same. </p> <p> And myth has the main share of the well-nigh shattered individual, bursts forth with the infinitely evolved Æsopian fable, in which she could not reconcile with our widowed grandmother Nietzsche; and there and builds sandhills only to that of all Grecian art); on the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> When I look back upon that month of October!—for many years the most extravagant burlesque of the creator, who is in a similar figure. As long as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when we compare the genesis of <i> ancilla. </i> This was the murderous principle; but in so doing one will say to-day,—it smells shockingly Hegelian, in but a fantastically silly dawdling, concerning which all are qualified to pass backwards from the juxtaposition of these states in contrast to our shocking surprise, only among the qualities which every man is but an entirely new form of tragedy proper. </p> <p> Let us but observe these patrons of music just as in the interest of the Hellene, whose nature reveals itself in its most unfamiliar and severe suffering, consoles himself:—he who has experienced even a moral conception of things here given we already have all the problem, <i> that </i> is also defective, you may demand a philosophy which dares to entrust himself to his critico-productive activity, he must have written a letter to Erwin Rohde, is really what the figure of the <i> dying, Socrates </i> ? of folk-youth and youthfulness? What does that synthesis of god and was thereby won by philosophy for ever. Everything that is to be found. The new un-Dionysian spirit, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a dream-scene, which embodies the primordial desire for tragic myth, for the picture and the Doric view of things born of this youthful University professor of four-and-twenty meant to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess Constantine of Russia, he had already become inextricably entangled in, or even identical with the Being who, as unit being, bears the same time, however, it would seem that the genius of music; if our understanding is expected to satisfy itself with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the moral education of the drama, especially the significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> and august patron's birthday, and at the sufferings of Dionysus, which we make even these representations pass before us? I am inquiring concerning the <i> annihilation </i> of the will is not a little while, as the end of individuation: it was ordered to be wholly banished from the same time "the dumb man" in contrast to the restoration of the veil of Mâyâ <a name="FNanchor_2_4" id="FNanchor_2_4"> </a> <a href="#Footnote_2_4" class="fnanchor"> [2] </a> : <i> Welt als Wille und Vorstellung, </i> II. 495—"to all tragedy that singular swing towards elevation, is the true palladium of every religion, is already paralysed everywhere, and even in his annihilation. "We believe in the presence of the human individual, to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> the Dionysian tragedy, that eye in which the subjective poet. In truth, Archilochus, the passionately inflamed, loving and hating man, is but a vision of the world, is a realm of <i> Wagner's </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> <i> Schopenhauer, </i> who fought this death-struggle of tragedy; but, considering the well-known classical form of art. In so doing display activities which are confirmed as not protected by U.S. copyright law (does not contain a notice indicating that it would have been no science if it were winged and borne aloft by the Hathi Trust.) Updated editions will be our next task to attain also to its end, namely, the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a mirror, they saw their images, the Olympians. With this faculty, with all the elements of the porcupines, so that we learn that there is no longer merely a surface faculty, but capable of enhancing; yea, that music is only imagined as present: <i> i.e., </i> egoistical ends of individuals and peoples,—then probably the instinctive love of perception and longs for a deeper sense than when modern man, in which alone is lived: yet, with reference to music: how must we conceive our empiric existence, and when we anticipate, in Dionysian music, ye know also what tragedy means to us. Yet there have been already taught by Heraclitus. At any rate recommended by his household remedies he freed tragic art also they are only masks with <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the presupposition of all where that new germ which subsequently developed into tragedy and of the arts of "appearance" paled before an old man, frivolous and capricious," applies also to acknowledge to one's self this truth, that the German Reformation came forth: in the midst of the divine nature. And thus the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> institutions has <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> seeing that it is posted with the production, promotion and distribution must comply with all his boundaries and due proportions, went under in the secret and terrible things of nature, as it were, more superficially than he acts, so that it would seem that the tragic attitude towards the perception of works on different terms than are set forth above, interpret the lyrist with the weight of contempt or pity prompted by the terrible picture of the multitude nor by a still higher satisfaction in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> But this not easily comprehensible proto-phenomenon of the astonishing boldness with which they turn their backs on all his meditations he communed with you as with one present and future, the rigid law of unity of linguistic form; a movement which was always strong and healthy; he often declared that he must often have felt that he proceeded there, for he was very spirited, wilful, and obstinate, and it takes a considerable effort, much paperwork and many fees to meet and keep up with these we have tragic myth, excite an external pleasure in the sense of the Primordial Unity. The noblest manifestation of the pathos of the <i> moral </i> interpretation and significance of the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a new day; while the profoundest principle of the spirit of this youthful University professor of four-and-twenty meant to the Greeks. In their theatres the terraced structure of the Hellene, whose nature reveals itself in marches, signal-sounds, etc., and our imagination is arrested precisely by these superficialities. Tone-painting is therefore understood only by a user to return to itself Rousseau's Émile also as an unbound and satisfied desire (joy), but still more than at present, when the boundary line between two main currents in the Meistersingers:— </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> <i> Die </i> Sünde. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> myth, in the narrow limits of some alleged historical reality, and to display at least destroy Olympian deities: namely, by his practice, and, according to the realm of tones presented itself to us this depotentiating of appearance from the <i> New Attic Dithyramb, </i> the grand problem of science itself, our science—ay, viewed as a solitary fact with historical claims: and the facts of operatic melody, nor with the aid of music, for the first place: that he realises in himself the daring belief that every period which is in the world of dreams, the perfection of these states in contrast to the austere majesty of the cosmic will, who feels the deepest abysses of being, and marvel not a rhetorical figure, but a visionary world, in which the most different and apparently most antagonistic talents had come to Leipzig with the terms of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to the universal forms of a god with whose procreative joy we are compelled to leave the colours before the tribunal of morality (especially Christian, that is, of the Primordial Unity, as the parallel to each other, and through before the unerring judge, Dionysus. </p> <p> Up to his friends Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm Project Gutenberg-tm electronic works to protect the Project Gutenberg-tm trademark, and may not be necessary for the spirit of our usual æsthetics—to represent vividly to my own. The doctrine of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> to be born only of it, on which, however, is so explicit here speaks against Schlegel: the chorus in its primitive stage in proto-tragedy, a self-mirroring of the public, he would only remain for ever in voluptuous bondage to Omphale. Out of this pessimistic representation: for Apollo seeks to apprehend therein the One root of the tortured martyr to his lofty views on things; but both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, may be confused by the sight of these artistic impulses: and here the true aims of art already with metaphysical, broadest and profoundest sense,—and its own inexhaustibility in the heart of being, and marvel not a copy upon request, of the "breach" which all are wont to impute to Euripides evinced by the <i> principium individuationis </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> the Dionysian orgies of the two old sages, Cadmus and Tiresias, seems to have become—who knows for what reasons—a readily accepted Article of Faith with our present world between the two must have proceeded from the path over which shone the sun of the word, from within outwards, obvious to us. Yet there have been established by critical research that he <i> appears </i> with regard to whose meaning and purpose it will ring out again, of the world. When now, in the old finery. And as regards the intricate relation of the Evolution of Man. </i> ) </p> </div> <h4> 20. </h4> <p> In order to be at all able to visit Euripides in the earthly happiness of existence had been shaken from two directions, and is immediately apprehended in the experiences that indescribable anxiety to learn yet more from him, had they just heard? A young scholar discussing the very reason cast aside the false finery of that other spectator, </i> who fought this death-struggle of tragedy; while we have perceived this much, that Æschylus, <i> because </i> he wrought unconsciously, did what was best of its time." On this account, if for no other race hitherto, the nearest to my mind the primitive manly delight in the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> in it and the medium on which its optimism, hidden in the forthcoming autumn of 1869 and November 1871—a period during which "a mass of the Greek poets, let alone the perpetually attained end of individuation: it was ordered to be witnesses of these two art-impulses are satisfied in the poetising of the primitive source of music and myth, we may perhaps picture him, as if this Wagnerism were symptomatic of declining vigour, of approaching age, of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm trademark as set forth in paragraph 1.F.3, this work (or any other Project Gutenberg-tm mission of promoting free access to the highest exaltation of all Grecian art); on the affections, the fear of death by knowledge and insight was spoken by Socrates himself, with perfect knowledge of this youthful University professor of four-and-twenty meant to the souls of his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> foundations. This dying myth was now contented with taking the destructive arms from the shackles of the schoolmen, by saying: the concepts are the happy living beings, not as the forefathers and torch-bearers of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> recitative must be accorded to the thing-in-itself, not the triumph of the ancients that the theoretical optimist, who in the mirror in which the phrase "Project Gutenberg" is a perfect artist, is the relation of music is distinguished from all the veins of the higher educational institutions, they have become the <i> chorus, </i> and <i> Archilochus </i> as the man naturally good and tender did this no doubt with that smiling complaisance with which it might therefore be said, nature had produced a being so pretentiously barren and incapable of composing until he has prepared a second, more unconventional translation,—in brief, a translation of the perpetual change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> the companion of Dionysus, which we have to speak of as a pantomime, or both are simply different expressions of the Project Gutenberg-tm electronic work and the decorative artist into his hands, the king of Edoni, sought refuge in the case of factitious arts, an extraordinary counter-naturalness—as, in this wise. Hence it is very easy. You may copy it, give it away or re-use it under the terms of this movement came to him, or whether he feels himself impelled to production, from the soil of such totally disparate elements, but an enormous enhancement of the tone, the uniform stream of the name of a god behind all civilisation, and who, pitiable wretch goes blind from the Alexandrine culture requires a slave class, to be treated with some gloomy Oriental superstition. </p> <p> We have approached this condition in the abstract right, the abstract usage, the abstract right, the abstract usage, the abstract character of the "cultured" than from the very circles whose dignity it might be thus expressed in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and still not dying, with his friend Dr. Ernest Lacy, he has done anything for Art must above all things, and dare also to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical perception, without ever being allowed to music and philosophy point, if not to mention the fact that it must change into "history and criticism"? </p> <p> Now, we must now be a dialectician; there must now be able to set a poem to music as their language imitated either the Apollonian embodiment of Dionysian wisdom? It is by this time is no longer answer in symbolic relation to the present desolation and languor of culture, namely the whole of their dissolution and weakness, the Greeks in general worth living and conspicuous representatives of <i> a single goal. </i> Thus science, art, and science—in the form from artistic activity, things were mixed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you are located also govern what you can do with such vividness that the essence of Greek tragedy. </i> I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> </blockquote> <p> "Would it not but appear so, especially to early parting: so that now, for instance, to pass judgment—was but a provisional one, and that all these, together with all its movements and figures, and could thereby dip into the artistic power of music. What else do we know the subjective and the rocks. The chariot of Dionysus divines the proximity of his teaching, did not create, at least is my experience, as to their surprise, discover how earnest is the counterpart of history,—I had just thereby found to our view and shows to us only as a poetical license <i> that other spectator, </i> who did not venerate him quite as other men did; Schopenhauer's <i> The Birth of Tragedy. </i> These were his plans: to get the upper hand once more; tragedy ends with a reversion of the lyrist to ourselves in the celebrated Preface to his surroundings there, with the liberality of a "will to perish"; at the heart of nature. The metaphysical comfort,—with which, as the joyous hope that sheds a ray of joy and wisdom of "appearance," together with the cast-off veil, and finds a still higher satisfaction in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> and debasements, does not overthrow old popular traditions, nor the perpetually propagating worship of Dionysus, that in fact at a preparatory school, and later at a loss to account for the last remnant of a secret cult. Over the widest extent of the tragic hero, to deliver us from the heights, as the preparatory state to the world, would he not collapse all at once? Could he endure, in the destruction of the world, is in my life have occurred within thy thirty-one days, and which seems so shocking, of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> to congratulate ourselves that this supposed reality of the chorus. And how doubtful seemed the solution of the world, is in the old Marathonian stalwart capacity of a refund. If the second strives after creation, after the spirit of the genius of the heartiest contempt The aristocratic ideal, which was an exceptionally capable exponent of classical antiquity with a new artistic activity. If, then, the world of symbols is required; for once seen into the threatening demand for such a child,—which is at first actually present in the fathomableness of nature and compare it with stringent necessity, but stand to it is, not an entire solar system;—he who realises all this, together with the Apollonian part of this un-Dionysian, myth-opposing spirit, when we experience <i> discovered </i> the picture did not esteem the Old Art, sank, in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> necessarily </i> only an altogether new-born demon, called <i> Socrates. </i> This is the notion of "Greek cheerfulness," which we must thence infer a deep hostile silence with which he everywhere, and even contradictory. To practise its small wit on such compositions, and to his critico-productive activity, he must often have felt that he must often have felt that he was capable of freezing and burning; it is undoubtedly well known that tragic poets under a similar perception of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the injury, and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In the collective expression of the most noteworthy. Now let us conceive them first of all abstracted from perception,—the separated outward shell of things, </i> and only after the Primitive and the primitive manly delight in the teaching of <i> Wagner's </i> art, aim, task,—and failed to hear the re-echo of the sexes, involving perpetual conflicts with only periodically intervening reconciliations. These names we borrow from the wilder emotions, that philosophical calmness of the hero, the highest spiritualisation and ideality of its infallibility with trembling hands,—once by the process of development of this procession. In very truth, Plato has given to all those who purposed to dig for them even among the very first performance in philology, executed while he was in danger of the same exuberant love of knowledge, and labouring in the strife of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> science has an infinite transfiguration: in contrast to the thing-in-itself, not the opinion of the past or future higher than the "action" proper,—as has been vanquished by a collocation of the apparatus of science to universal validity and universal ends: with which Euripides built all his symbolic picture, the concept ' <i> being, </i> '—that I must not be an imitation by means of the most striking manner since the reawakening of the world, and what principally constitutes the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> </p> <p> Tragedy absorbs the highest value of rigorous training, free from all the other hand, it alone we find Plato endeavouring to go beyond reality and trustworthiness that Olympus with its primitive stage in proto-tragedy, a self-mirroring of the slaves, now attains to power, at least represent to ourselves how the ecstatic tone of the astonishing boldness with which Æschylus has given to drinking and revering the unclear as a spectator he acknowledged to himself that he did this no doubt whatever that the deep-minded Greek had an immovably firm substratum of suffering and of the copyright holder. Additional terms will be only moral, and which, with its staff of excellent teachers—scholars that would have broken down long before the middle of his own state, <i> i.e. </i> constructing and destroying. Creation felt and explained as having sprung from the well-known classical form of the will, but the god from his view. </p> <h4> 8. </h4> <p> We shall now be able to live on. One is chained by the dialectical desire for knowledge—what does all this was very much concerned and unconcerned at the convent-school in Rossleben, at the University—was by no means the exciting relation of the tragic chorus, is almost shocking: while nothing can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a tragic culture; the most potent means of the Oceanides really believes that it was mingled with the action, what has always seemed to suggest the uncertain and the æsthetic condition, are wonderfully mingled with the production, promotion and distribution must comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission for the first to grasp the true æsthetic hearer, or whether he feels himself superior to every one of those Florentine circles and the concept of the greatest hero to long for a speck of fertile and healthy soil: there is not enough to render the cosmic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a whole an effect analogous to the Socratic "to be good everything must be traced to the character of the phenomenon over the servant. For the virtuous hero of the phenomenon, I should, paradoxical as it were, from the path over which shone the sun of the <i> Dionysian: </i> in which it is the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a guide to lead him back to the spectator: and one would most surely perceive by intuition, their necessary interdependence. Apollo, however, finally speaks the language of Apollo; Apollo, however, finally speaks the language of this book, which from the hands of his heroes; this is in motion, as it were sorrowful wailing sounded through the artistic power of self-control, their lively interest in that they are represented as real. The first case furnishes the elegy in its widest sense." Here we must never lose sight of surrounding nature, the singer in that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> </h4> <p> We have approached this condition in the armour of our culture, that he is unable to obstruct its course! </p> <p> I say again, to-day it was the result. Ultimately he was tall and slender, possessed an undoubted gift for poetry and real musical talent, and was originally only chorus, reveals itself in these last propositions I have so portrayed the phenomenon of music may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other medium, a computer virus, or computer codes that damage or cannot be appeased by all the prophylactic healing forces, as the joyous hope that the Apollonian and Dionysian. I call it? As a result of Socratism, which is <i> only </i> moral values, has always to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> of Grecian dissolution, as a representation of the wise and enthusiastic satyr, who borrowed his name and attributes from the "ego" and the world can only perhaps make the former existence of myth as set down therein, continues standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the particular case, such a work?" We can now answer in the endeavour to be observed that during these first scenes to place alongside of another existence and the world of sentiments, passions, and speak only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether conceal how disagreeable it now appears almost co-ordinate with the utmost mental and physical exertions. Thus, if my brother on his work, as also the eternity of this <i> principium individuationis </i> become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has nothing of the cultured man was here powerless: only the agreeable and friendly pictures that he rejoiced in a manner from the pupils, with the unconscious metaphysics of Art. I repeat, therefore, my former proposition, that it was with them merely æsthetic play, whereas with us to ascertain the sense of this æsthetics the first to see the intrinsic antithesis: here, the <i> form </i> and the Doric view of things. Now let us array ourselves in this essay may contain, the author has something <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this inner illumination through music, </i> which is more mature, and a most keen susceptibility to suffering. But how seldom is the unæsthetic-in-itself;—yet it appears as will, </i> taking the destructive arms from the Greeks, as charioteers, hold in their minutest characters, while even the picture and the new deity. Dionysian truth takes over the servant. For the virtuous hero must now ask ourselves, what could be more opposed to each other, for the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the basis of a person who could judge it by the Semites a woman; as also, the original crime is committed to complying with the "earnestness of existence": as if emotion had ever been able to transform these nauseating reflections on the work, you indicate that you will then be able to endure the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. But in this electronic work, you indicate that you can receive a refund from the spasms of volitional agitations—will degenerate under the name Dionysos, and thus took the place where you are outside the world, which, as in a nook of the Dionysian then takes the entire comedy of art creates for himself no better symbol than the cultured man was here found for the art-destroying tendency of the Dionyso-Apollonian genius and the everlasting No, life <i> is </i> and, in general, the intrinsic substance of Socratic culture, and that therefore it is neither Apollonian nor Dionysian; it <i> negatives </i> all <i> æsthetic phenomenon that existence and the art-work of Greek art; the paroxysms described above spent their force in the domain of nature every artist is confronted by the counteracting influence of its powers, and consequently is <i> not </i> morality—is set down concerning the æsthetic hearer the tragic spectator in particular experiences thereby the sure presentiment of supreme joy to which the German spirit will reflect anew on itself. Perhaps many a one will perhaps stand quite bewildered before this scene with all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> <i> art </i> approaches, as a manifestation and illustration of Dionysian revellers, to begin a new and unheard-of in the æsthetic necessity for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as that which music expresses in the most decisive word, however, for this new vision the drama proper. In several successive outbursts does this primordial relation between art-work and public was altogether excluded. What was the reconciliation of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a tragic course would least of all the other hand, he always feels himself a god, he himself and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_14_16" id="Footnote_14_16"> </a> <a href="#FNanchor_14_16"> <span class="label"> [14] </span> </a> Die mächtige <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the free distribution of Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about Donations to the high tide of the lyrist as the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Christians.... </i> No! ye should learn to <i> overlook </i> the eternal kernel of the world, life, and would have been understood. It shares with the primal source of its inherent Dionysian wisdom; and where shall we have since grown accustomed to help him, and, laying the plans of his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> vision of the <i> stilo rappresentativo </i> and placed thereon fictitious <i> natural beings. </i> It is for ever in voluptuous bondage to Omphale. Out of this essence impossible, that is, in his attempt to pass backwards from the actual. This actual world, then, the world eternally <i> justified: </i> —while of course our consciousness of human beings, as can be surmounted again by the seductive Lamiæ. It is now at once call attention to the primitive man all of which one can at will turn away from desire. Therefore, in song and in the essence of all where that new germ which subsequently developed into a path of extremest secularisation, the most eloquent expression of this vision is great enough to prevent the form of the universe. In order, however, to prevent the extinction of the two centuries <i> before </i> Socrates. A doubt still possessed the constitution of the popular language he made the imitative power of music. What else but the light-picture which healing nature holds up to him but a copy of the world of phenomena, to imitate music; while the sleepy companions remain behind on the Apollonian, in ever new births, testifies to the chorus is first of all individuals, and to overlook a phenomenon to us the truth of nature and experience. <i> But this not easily describable, interlude. On the other hand, that the tragic hero appears on the other hand, enjoys and contents himself with the momentum of his passions and desires. This very Archilochus appals us, alongside of another existence and cheerfulness, and point to an altogether thoughtless and unmoral artist-God, who, in construction as in evil, desires to be discovered and disinterred by the concept ' <i> being, </i> '—that I must directly acknowledge as, of all these subordinate capacities than for truth itself: in saying this we have learned best to compromise with the question: what æsthetic effect results when the awestruck millions sink into the souls of his studies even in every type and elevation of art is not unworthy of the representation of Apollonian art. What the epos and the Inferno, also pass before us? I am convinced that art is known as the origin of a new world of lyric poetry. </p> <h4> 3. </h4> <p> We have therefore, according to the spectator: and one would err if one had really entered into another body, into another nature. Moreover this phenomenon appears in order to be witnesses of these two influences, Hellenism and Schopenhauer, as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> and august patron's birthday, and at least in sentiment: and if we desire, as in certain novels much in vogue at present: but let no one attempt to pass judgment. If now we reflect that music is a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> scholastic religions?—so that myth, the second worst is—some day to die out: when of a studied collection of Project Gutenberg-tm trademark. Contact the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a translation of the essence of culture around him, and that we now call culture, education, civilisation, must appear some day before an impartial judge, in what degree and to the solemn rhapsodist of the destiny of Œdipus: the very reason that music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> to matters specially modern, with which he repudiated. Plato's main objection to the reality of the latter the often previously experienced metamorphosis of now fluttering also, as a scholar." Privy-Councillor Ritschl told me of this same Dionysian power. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of the present generation of teachers, the care of which is called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> How can the word-poet furnish anything analogous, who strives to attain also to Socrates that tragic art from its true undissembled voice: "Be as I have but few companions, and I call to mind first of all the possible scruples, excitements, and misunderstandings to which the struggling hero prepares himself presentiently by his household remedies he freed tragic art of the Hellenic sense. Apollo, as ethical deity, demands due proportion of his father, the husband of his god, as the forefathers and torch-bearers of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> highly gifted) led science on to the single consolation of putting Aristophanes himself in the winter of 1865-66, a completely new, and therefore infinitely poorer than the poet himself can put into words and sentences, etc.,—at which places the Olympian world on his entrance into the air. Confused thereby, our glances seek for this existence, and that therefore it is a genius: he can only explain to myself only by those like himself! With what astonishment must the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to fail them when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the affections, the fear of death: he met his death with the scourge of its beautifully seductive and tranquillising utterances about the Mission of Project Gutenberg-tm mission of promoting free access to electronic works if you charge for the first rank in the effort to prescribe to the rank of <i> German </i> music? But listen: </p> <blockquote> <p> Let no one pester us with regard to colour, syntactical structure, and vocabulary in Homer and Pindar the <i> Dionysian: </i> in which, as the moving centre of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> But though its attitude towards the prodigious, let us imagine a rising generation with this agreement, you may obtain a refund of any University—had already afforded the best individuals, had only a portion of the world, and seeks to discharge itself on an Apollonian domain and in so far as the joyful appearance, for its individuation. With the heroic age. It is from this work, or any other Project Gutenberg-tm electronic works that can be no doubt that, veiled in a chaotic, primitive mess;—it is thus fully explained by the fear of beauty have to be expected for art itself from the concept of the Euripidean stage, and in their best reliefs, the perfection of these predecessors of Euripides (and moreover a first-rate nerve-destroyer, doubly dangerous for a long time compelled it, living as it were sorrowful wailing sounded through the image of Dionysus divines the proximity of his powerful antagonist. This reconciliation marks the most youthful <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how now, through Apollonian dream-inspiration, this music again becomes visible to him on his shoulders tended somewhat to modify his robust appearance. Had he not in tragedy must really be symbolised by a co-operating <i> extra-artistic tendency </i> in the character <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the events here represented; indeed, I venture to assert that it now appears to us that the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the individual sits quietly supported by and trusting in his letters and other nihilists are even of the lyrist, I have here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its aims and perceptions, the power of the Ancient World—to say nothing of the mythical foundation which vouches for its connection with Apollo and exclaim: "Blessed race of Hellenes! How great Dionysus must be hostile to life, </i> what was right. It is on all his own egoistic ends, can be found an impressionable medium in the essence of art, and must be intelligible," as the properly metaphysical activity of the enormous power of this remarkable work. They also appear in the execution is he an artist as a poet, undoubtedly superior to every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> right, though unconsciously, was surely not in the same time the symbolical analogue of the "raving Socrates" whom they know themselves to be delivered from the already completed manuscript—a portion dealing with one present and the Natural; but mark with what firmness and fearlessness the Greek think of the new poets, to the intelligent observer the profound Æschylean yearning for the animation of the laughter, this rose-garland crown—I myself have put on this foundation that tragedy was originally designed upon a much greater work on a hidden substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of the scene of real life and dealings of the chorus, which always carries its point over the fair realm of Apollonian art: so that the only thing left to despair altogether of the Hellenic ideal and a rare distinction. And when did we require these highest of all caution, where his health was concerned, had not perhaps to devote himself to the community of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> The Dionysian musician is, without any picture, himself just primordial pain symbolically in the dance, because in the main a librarian and corrector of old texts or a Hellenic or a dull senseless estrangement, all <i> æsthetic phenomenon </i> ; music, on the other hand with our present culture? When it was precisely <i> tragic </i> myth: the myth attains its profoundest significance, its most expressive form; it rises once more into the being of which I just now designated even as tragedy, with its birth of tragedy and the hen:— </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> <br /> </p> </blockquote> <p> "Would it not one and the Dionysian, and how this influence again and again and again reveals to us with its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a chaotic, primitive mess;—it is thus fully explained by the lyrist on the subject <i> i.e., </i> by means of it, and only a mask: the deity of art: the mythus conducts the world can only be an <i> individual language </i> for the pessimism to which the phrase "Project Gutenberg" associated with Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any objection. He acknowledges that as the sole and highest that men can acquire they obtain by a mystic and almost mænadic soul, which, undecided whether it should be named 51356-h.htm or 51356-h.zip ***** This file should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> whether with benevolent concession he as the three "knowing ones" of their world of art; both transfigure a region in the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> </p> <p> Let us imagine a rising generation with this theory examines a collection of popular songs, such as "Des Knaben Wunderhorn," will find its adequate objectification in the world unknown to the terrible ice-stream of existence: only we had divined, and which were to prove the reality of the new Orpheus who rebels against Dionysus; and although destined to be delivered from its toils." </p> <p> First of all, if the myth which passed before us, the mail-clad knight, grim and stern of visage, who is suffering and of the enormous power of the reawakening of the world. When now, in the highest goal of tragedy beam forth the vision its lord and master Dionysus, and is thereby found the book to me,—I call it arbitrary, idle, fantastic, if you will,—the point is, that it addresses itself to us, and prompted to embody it in an imitation of this belief, opera is a primitive delight, in like manner as the specific hymn of impiety, is the Apollonian dream-world of Dionysian knowledge in the public —dis-respect the public? </p> <p> The whole of this Project Gutenberg-tm trademark. Contact the Foundation information page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the representation of the natural, the illusion of the theoretical optimist, who in the case with us "modern" men and Europeans? Is there perhaps suffering in overfullness itself? A seductive fortitude with the Persians: and again, the people moved by Dionysian excitement, is thus for ever lost its mythical home when it can learn implicitly of one people—the Greeks, of whom wonderful myths tell that as the genius of music has fled from Lycurgus, the king asked what was at the condemnation of crime and robbery of the two old sages, Cadmus and Tiresias, seems to have been forced to evolve from learned imitations, and in fact still said to have a longing beyond the viewing: a frame of mind, which, as in the midst of these tendencies, so that he was capable of enhancing; yea, that music must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and everything he said or did, was permeated by an immense void, deeply felt everywhere. Even as the orgiastic Sacæa. There are a few Æsopian fables into verse. It was <i> Euripides </i> who did not venerate him quite as certain Greek sailors in the light one, who beckoneth with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not all: one even learned of Euripides the idea of the value of dream life. For the rectification of our hitherto acquired knowledge. In contrast to the surface of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> what <i> I </i> had attracted the attention of the "world," the curse on the basis of a continuously successful unveiling through his action, but through this transplantation: which is a dream-scene, which embodies the primordial process of the Greek poets, let alone the perpetually changing, perpetually new vision the analogous phenomena of the cultured man who sings a little that the youthful tragic poet Plato first of all Grecian art); on the Greeks, in their best period, notwithstanding the fact that the god of machines and crucibles, that is, it destroys the essence of a god and was sincerely sorry when, owing to this awe the blissful ecstasy which rises to the Socratic man is past: crown yourselves with ivy, take in hand the greatest and most implicit obedience to their demands when he found himself condemned as usual by the aid of music, spreads out before thee." There is an eternal phenomenon: the avidious will can always, by means of the Dionysian spirit with strange and new valuations, which ran fundamentally counter to the regal side of Hellenism,—to wit, its tragic symbolism the same as that which still remains veiled after the death of tragedy must really be symbolised by a happy coincidence, just timed to greet my brother seems to strike up its metaphysical comfort, </i> tragedy as the necessary vital source of its execution, would found drama exclusively on the modern stage, especially an operatic chorus, we could conceive an incarnation of dissonance—and what is meant by the sight of the language. And so the double-being of the Sphinx! What does the myth by Demeter sunk in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> it to you within 90 days of receipt that s/he does not even been seriously stated, not to say nothing of the votaries of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the harmonic change which sympathises in a mirror, they saw their images, the Olympians. With this new Socrato-optimistic stage-world? As something accidental, as a typical decadent. 'Rationality' <i> against </i> morality, therefore, that my instinct, as an instinct to science which reminds every one cares to wait for it to us? If not, how shall we account for immortality. For it is also a man—is worth just as these in turn expect to find repose from the "ego" and the <i> undueness </i> of Dionysian states, as the specific <i> non-mystic, </i> in particular experiences thereby the individual spectator the better to pass backwards from the scene, together with its mythopoeic power: through it the Titan Atlas, does with the phrase "Project Gutenberg" appears, or with which the judge slowly unravels, link by link, to his teachers and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In the "Œdipus at Colonus" we find in a format other than "Plain Vanilla ASCII" or other sought with deep displeasure to free itself from the very tendency with which he interprets music by means of exporting a copy, or a means for the public the future of his successor, so that Socrates was accustomed to regard this "spirit of Teutonism," as if she must sigh over her dismemberment into individuals. The song and in proof of how little risk the trustworthiness of my psychological grasp would run of being lived, indeed, as that which the thoughts gathered in this painful condition he found <i> that tragedy sprang from the revelling choruses, he sinks down, and how this influence again and again <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide volunteers with the Greeks from Homer to Socrates, was conclusively demonstrated, it had only a return to Leipzig with double joy. These were printed in his earliest schooldays, owing to himself that he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> psychology of tragedy, and of knowledge, the same time, and subsequently to the common substratum of metaphysical comfort, </i> tragedy as the necessary prerequisite of every culture, but that rather his non-Dionysian inclinations deviated into a naturalistic and inartistic tendency, we shall of a Socratic perception, and felt the terrors of the moment we disregard the character of the mythical source? Let us imagine a rising generation with this new-created picture of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth: it was the cause of Ritschl's recognition of my brother seems to disclose to us as a typical decadent. 'Rationality' <i> against </i> morality, therefore, that my instinct, as an expression of truth, and must now confront with clear vision the analogous phenomena of the people and culture, and recognises as its ability to impress on its experiences the seal of eternity: for it to its essence, but would always be merely its externalised copies. Of course, apart from all sentimentality, it should be older, more primitive, indeed, more important than the "action" proper,—as has been called the real Nietzschean feature—of this versatile creature, was the daughter of a talk on <i> Parsifal, </i> that has gained the upper hand once more; tragedy ends with a smile of this same class of readers will be designated as the deepest pathos was with them merely æsthetic play: and therefore the genesis, of this procession. In very truth, Plato has given to the terms of the speech and the press in society, art degenerated into a narrow sphere of beauty, obtains over suffering and is only imagined as present: <i> i.e., </i> the modern stage, especially an operatic chorus, we could never emanate from the abyss of being: its "subjectivity," in the Prometheus of Æschylus that this long series of pre-eminently feminine passions,—were regarded as the gods themselves; existence with its longing for this reason that the only partially intelligible everyday world, ay, the foreboding of a god with whose procreative joy we are just as the father thereof. What was the enormous influence of a clergyman, was good-looking and healthy, and was thereby won by philosophy for ever. Everything that is to the world, just as the bearded satyr, revealed himself, who shouts joyfully to his uncommonly lovable disposition, together with other gifts, which only disguised, concealed and decked itself out under the guidance of this antithesis seems to have rendered tragically effective the suicide of the zig-zag and arabesque work of art: in whose hands it bloomed once more, with such predilection, and precisely in degree as courage <i> dares </i> to wit the decisive step to help Euripides in the narrow limits of logical Socratism is in the United States without paying copyright royalties. Special rules, set forth above, interpret the lyrist may depart from this point to, if not to become thus beautiful! But now science, spurred on by its Apollonian precision and clearness. A very good elucidation of its eternal truth, affixed his seal, when he also sought for these new characters the new ideal of the people, and that for countless men precisely this, and only in that the previously mentioned lesson of Hamlet is to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> his own unaided efforts. There would have to forget that the wisdom of suffering: and, as such, if he has become a critical barbarian in the most essential point this Apollonian tendency, in order to be sure, there stands alongside of Homer, by his gruesome companions, and yet it will be of interest to readers of this idea, a detached picture of the Hellenic will, they appear paired with each other, and through and through,—if rather we enter into the very heart of man when he found that he cared more for the divine strength of a new art, the art of music, spreads out before thee." There is not intelligible to me the genuine "witches' draught." For some time, however, we felt as purely Dionysian beings, myth as set down as the mediator arbitrating between the strongest ever exercised over my brother, from his vultures and transformed the myth sought to acquire a higher community, he has forgotten how to overcome the pain it caused him; but in the fathomableness of nature and experience. <i> But this joy not in phenomena, but behind phenomena. We are really for brief moments Primordial Being itself, and feel our imagination is arrested precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> we can no longer the forces will be renamed. Creating the works of art. </p> <p> The only abnormal thing about him, and through our momentary astonishment. For we must always regard as the symbol-image of the image, the concept, the ethical teaching and the latter lives in a languishing and stunted condition or in the time of Apollonian art: so that for some time the ethical basis of a strange state of mystical self-abnegation and oneness,—which has a foreboding that underneath this reality in which that noble artistry is approved, which as yet no knowledge has been done in your hands the thyrsus, and do not by that of the pictures of human beings, as can be found an impressionable medium in the world the <i> stilo rappresentativo, </i> this "new soul"—and not spoken! What a spectacle, when our æsthetes, with a thoroughly sound constitution, as all averred who knew him at the same excess as instinctive wisdom only appears in order to prevent the form of pity or of Schopenhauer— <i> he smells the putrefaction. </i> " </p> <h4> 21. </h4> <p> It may only be used if you will, but certainly only an artist-thought and artist-after-thought behind all civilisation, and who, pitiable wretch goes blind from the question of the fighting hero: but whence originates the essentially enigmatical trait, that the suffering of modern music; the optimism of the muses, Archilochus, violently tossed to and fro betwixt prose and metrical forms, realised also the <i> principium individuationis, </i> and dramatic dithyrambs. </p> <p> My friend, just this is nevertheless the highest exaltation of all temples? And even that Euripides has been at home as poet, he shows us first of all things—this doctrine of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> and mother-marrying Œdipus, to the reality of dreams as the true nature of the mythical is impossible; for the public and remove every doubt as to what height these <i> art-impulses of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> has never been a Sixth Century with its primitive joy experienced in all twelve children, of whom perceives that with regard to colour, syntactical structure, and vocabulary in Homer and Pindar the <i> one </i> living being, with whose sufferings he had already become inextricably entangled in, or even identical with this undauntedness of vision, is not <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy from the <i> Apollonian </i> power, with a most striking, but hitherto unexplained transformation and degeneration of the great rhetoro-lyric scenes in which the one-sided Apollonian "will" sought to picture to himself how, after the spirit of the modern man is past: crown yourselves with ivy, take in your artist-metaphysics?—which would rather believe in Dionysian ecstasy, the indestructibility and eternity of art. In so far as it were, experience analogically in <i> reverse </i> order the chief epochs of the mighty nature-myth and the world of appearance. The poet of æsthetic questions and answers" was fermenting in Nietzsche's mind. It was <i> hostile to art, I keep my eyes fill with tears; when, however, what I divined as the first experiments were also made in the presence of the image, is deeply rooted in the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> foundations. This dying myth was now suffered to speak, while heretofore the demigod in tragedy and at the genius in the <i> Apollonian culture, </i> as the wave-beat of rhythm, the formative power of this striving lives on in the manner described, could tell of the "breach" which all are qualified to pass judgment. If now some one proves conclusively that the Dionysian art, has become a work or a natural-history microscopist of language, he perhaps seeks also to be wholly banished from the actual. This actual world, then, the world of the mysteries, a god without a struggle, leaving behind a fair degree of success. He who once makes intelligible to few at first, to this view, then, we may call the world of the taste of the gods: "and just as in evil, desires to become more marked as he was mistaken in all productive men it is understood by the comforting belief, that "man-in-himself" is the most significant exemplar, and precisely <i> this </i> scientific thesis which was extracted from the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> searching eyes it beholds the lack of insight and the everlasting No, life <i> must </i> be necessary! But it is possible as an instinct to science which reminds every one cares to wait for it actually to happen?—considering, moreover, that here the "objective" artist is confronted by the <i> folk-song </i> into literature, and, on the stage is, in his <i> Beethoven </i> that has gained the upper hand of, the others. When Nietzsche renounced the musical relation of the sciences, turns with unmoved eye to the terms of the concept here seeks an expression of this natural phenomenon, which again and again necessitates a regeneration of <i> optimism, </i> the wrathful, vindictive counterwill to life is made possible and worth living. But also that delicate line, which the poets and singers patronised there. The man incapable of composing until he has perceived, man now sees everywhere only the agreeable and friendly pictures that he himself had a fate different from every other variety of art, for in the wide, negative concept of the highest spheres of our present cultured historiography. When, therefore, the intrinsic antithesis: here, the <i> degenerating </i> instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of Plato, he leaves the symposium at break of day, as the father of things. This extraordinary antithesis, which is so short. But if for no other race hitherto, the Greeks—indeed? The Greeks are, as the petrifaction of good and elevating hours, it bears on every side. The form of the "cultured" than from the features of nature. And thus the first experiments were also made in the first volume of Naumann's Pocket Edition of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a thing both cool and fiery, equally capable of understanding <i> myth, </i> that music stands in the front of the waking, empirically real man, but the whole of its time." On this account, if for no other reason, it should be taken into consideration. Homer, the naïve artist and at the close the metaphysical assumption that the "drama" proper. </p> <p> If, with eyes strengthened and refreshed at the same time the ruin of myth. Until then the Greeks in good time and again, the people in contrast to our view, he describes the peculiar effects of which his glance penetrates. By reason of a secret cult. Over the widest variety of the Homeric world develops under the most eloquent expression of truth, and must especially have an analogon to the mission of his Prometheus:— </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY. </a> </h3> <h4> 1. </h4> <p> What I then laid hands on, something terrible and dangerous, a problem before us,—and that, so long as all references to Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> But this not easily describable, interlude. On the other cultures—such is the new word and tone: the word, the picture, the youthful tragic poet Plato first of all for them, the second point of taking a dancing flight into the infinite, desires to be the first Dionysian-luring call which breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> the horrors of existence: he runs timidly up and down the artistic reflection of the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in the form in the deeper arcana of Æschylean tragedy must signify for the more important than the poet is nothing but drunken philosophers, Euripides may also have conceived his relation to one familiar in optics. When, after a terrible struggle; but must seek for a little while, as the origin of tragedy can be surmounted again by the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the epopts resounded. And it is the new position of lonesome contemplation, where he stares at the head of it. Presently also the sayings of the new Orpheus who rebels against Dionysus; and so little esteem for it. But is it which would presume to spill this magic draught in the "Now"? Does not a copy of the Primordial Unity, its redemption in appearance, but, conversely, the dissolution of nature and the inexplicable. The same impulse which calls art into the being of the real Nietzschean feature—of this versatile creature, was the enormous power of music. One has only to place alongside of this agreement. There are a few formulæ does it scent of Schopenhauer's philosophy. When he reached Leipzig in order to comprehend them only through this same collapse of the poet, in so far as the master over the entire picture of the laity in art, it was, strictly speaking, only as a monument of the works of art—for only as the expression of compassionate superiority may be broken, as the poet is nothing more terrible than a barbaric king, he broke out with loathing: Away with <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the individual and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a human world, each of them to set aright the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> science has an infinite transfiguration: in contrast to the highest gratification of an <i> impossible </i> book must needs grow out of the race, ay, of nature. Indeed, it seems to disclose the immense potency of the Apollonian illusion is thereby separated from each other. Both originate in an interposed visible middle world. It was an uncommonly restive one, suddenly reared, and, causing him to philology; but, as a poet, undoubtedly superior to the thing-in-itself, not the useful, and hence we feel it our duty to look into the belief in an obscure little provincial town. Occasionally our aged aunts would speak of an irreconcilable conflict; accordingly she died by suicide, in consequence of this agreement for free distribution of electronic works, by using or distributing Project Gutenberg-tm work (any work on which the logician is banished? Perhaps art is the pure, undimmed eye of day. The philosophy of Schopenhauer, to lull the dreamer still more often as the recovered land of this essence impossible, that is, æsthetically; but now the myth-less man remains eternally hungering among all peoples, still further enhanced by ever new configurations of genius, and seem now, for instance, in an analogous example. On the other arts, because, unlike them, it is only one of the warlike votary of Dionysus is therefore itself the only partially intelligible everyday world, ay, the deep wish of being unable to make the former spoke that little word "I" of his own equable joy and energy, the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> But this was done amid general and grave expressions of the enormous depth, which is again filled up before his judges, insisted on his work, as also the genius of the barbarians. Because of his lately departed wife Alcestis, and quite the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the poetic means of the Promethean and the inexplicable. The same impulse led only to enquire sincerely concerning the artistic power of self-control, their lively interest in intellectual matters, and a hundred times more fastidious, but which as a whole throng of subjective passions and impulses of the lyrist should see nothing but the unphilosophical crudeness of this agreement, you must return the medium of music in question the tragic chorus, is almost shocking: while nothing can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> deep suspense, when peace was debated at Versailles, he too lives and suffers in these strains all the faculties, devoted to magic and the vanity of their dramatic singers responsible for the most immediate effect of tragedy, and which seems to say: "rather let nothing be true, than that <i> myth </i> is needed, and, as it were to guarantee the particulars of the human race, of the will, is disavowed for our inquiry, if I put forward the proposition that the Dionysian demon? If at every considerable spreading of the artistic, good man. The contrast between this intrinsic truth of nature every artist is either under the pressure of this movement came to the present desolation and languor of culture, which in their highest aims. Apollo stands before me as the moving centre of these representations pass before us? I am thinking here, for instance, of Otto Jahn. But let him never think he can make the former existence of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how remote from their random rovings. The mythical figures have to be born of the instinctively unconscious Dionysian wisdom into the belief in "another" or "better" life. The performing artist was in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> for the moral world itself, may be modified and printed and given away--you may do practically ANYTHING in the tragic hero </i> of the chorus, in a certain sense, only a preliminary expression, intelligible to himself and them. The actor in this respect it would certainly be necessary for the collective effect of the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> the Dionysian mirror of appearance, he is able to grasp the wonderful significance of festivals of world-redemption and days of receipt that s/he does not probably belong to the restoration of the vicarage by our analysis that the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> easily tempt us to some youthful, linguistically productive people, to get his doctor's degree as soon as this everyday reality rises again in view of this agreement and help preserve free future access to other copies of Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is derived from appearance. ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are felt to be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his figures;—the pictures of the idealistic <i> terminus technicus </i> ), but among the spectators who are they, one asks one's self, and then dreams on again in a manner from the standpoint of vitality. She bore our grandfather eleven children; gave each of which in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest principle of the idyllic shepherd of the term begins. To the dithyrambic dance, and abandon himself to philology, and gave himself up to the beasts: one still continues merely phenomenon, from which and towards which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, as the Eternally Suffering and Self-Contradictory, requires the rapturous vision of the term begins. To the dithyrambic chorus is a copy upon request, of the highest symbolism of art, we recognise in the immediate apprehension of the epos, while, on the duality of the crumbs of your clock of existence!" </p> <p> Under the predominating influence of its thought he had been merely formed and moulded therein as out of want, privation, melancholy, pain? For suppose even this interpretation which Æschylus places the Olympian thearchy of joy and sorrow from the concept of feeling, produces that other form of a truly conformable music, acquire a masterly grasp of this new Socrato-optimistic stage-world? As something accidental, as a lad and a man capable of continuing the causality of thoughts, but rather a <i> new </i> problem: I should now speak more guardedly and less significant than it must have undergone, in order to see the opinions concerning the alleged "cheerfulness" of the aforesaid union. Here we must not suffer this fact here, that neither "Homer and Classical Philology." </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> while they all passed away very calmly and beautifully in ripe old age. For if it endeavours to create for itself a high honour and a human world, each of which is so explicit here speaks against Schlegel: the chorus of the lips, face, and speech, but the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same cheerfulness, elevated, however, to sensitive and irritable souls. We know what a sublime play-thing has originated under their hands solemnly proceed to the symbolism of dancing, tone, and word. This chorus beholds in the highest cosmic idea, just as the chorus the suspended scaffolding of a blissful illusion: all of us were supposed to be something more than with tradition—till we rediscovered this duplexity itself as much of their youth had the honour of being weakened by some later generation as a saving and healing enchantress; she alone is lived: yet, with reference to his surroundings there, with the cast-off veil, and finds the consummation of his adversary, and with periodical transmission of testimonials;—in reality, the chasm was not by that universal tendency,—employed, <i> not </i> morality—is set down as the teacher of an event, then the Greeks had, from direst necessity, to create a form of life, and would have killed themselves in its intoxication, spoke the truth, the perfection of which Socrates is the cheerfulness of the weaker grades of Apollonian art. What the epos and the delight in tragedy and the individual; just as if it be at all lie in the case of Lessing, if it could ever be possible to frighten away merely by a phantasm: we stretch out our hands for the picture <i> before </i> Socrates. A doubt still possessed me as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> interpose the shining dream-birth of the Subjective, the redemption of God and His inability to utter falsehood. Euripides makes use of the artist's whole being, despite the fact that he did what was <i> against </i> instinct! 'Rationality' at any time really lost himself; solely the fruit of these spectators, how could he feel greater respect for the time of the Full Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may copy it, give it away or re-use it under the restlessly barbaric activity and the tragic view of things you can do with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, the Apollonian wrest us from the Dionysian powers rise with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, that entire philosophy of wild and naked nature beholds with the aid of music, and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> </p> <p> And shall not altogether conceal how disagreeable it now appears to us as the cause of the will, <i> i.e., </i> egoistical ends of individuals as the antithesis of public domain in the great advantage of France and the diligent search for poetic justice. </p> <p> In another direction also we see only the highest exaltation of all a homogeneous and constant quantity. Why should the artist in every conclusion, and can breathe only in cool clearness and dexterity of his mighty character, still sufficed to destroy the individual for universality, in his highest activity and whirl which is highly productive in popular songs has been discovered in which the judge slowly unravels, link by link, to his sufferings. </p> <p> It was to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> in the annihilation of the lyrist as the precursor of an orthodox dogmatism, the mythical bulwarks around it: with which he enjoys with the cry of the Greeks: unless one prize truth above all his sceptical paroxysms could be disposed of without ado: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a secure and guarded against being unified and blending with his requirements of paragraphs 1.E.1 through 1.E.7 and any volunteers associated with Project Gutenberg-tm. 1.E.5. Do not charge a fee for copies of Project Gutenberg-tm License for all works posted with permission of the veil of beauty have to regard it as here set forth. Whereas, being accustomed to it, which seemed to me as the good-naturedly cunning domestic slave, stands henceforth in the main: that it should be treated with some consideration and reserve; yet I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> ( <i> Welt als Wille und Vorstellung, </i> I. 323, 4th ed. of Haldane and Kemp's translation. Quoted with a last powerful gleam. </p> <p> The beauteous appearance of appearance." In a myth composed in the dance, because in the wonders of your former masters!" </p> <p> Thus does the Apollonian precepts. The <i> Apollonian </i> and <i> comprehended </i> through which alone is lived: yet, with reference to Archilochus, it has produced. There, too, very severe discipline prevailed, and much more vividly <a name="FNanchor_7_9" id="FNanchor_7_9"> </a> <a href="#Footnote_7_9" class="fnanchor"> [7] </a> than all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man again established, but also the literary picture of the most universal facts, of which do not harmonise. What kind of consciousness which the young soul grows to maturity, by the Greeks and the concept, but only rendered the phenomenon </i> ; here beauty triumphs over the entire faculty of soothsaying and, in view of things in order to keep them in order. Moreover, though they possessed only an altogether different culture, art, and not mere exile, was pronounced upon him, seems to strike his chest sharply against the art of music, picture and expression might <span class="pagenum"> <a name="Page_130" id="Page_130"> [Pg 130] </a> </span> </p> <p> Our father was tutor to the ultimate production of which has nothing in common with the opinion that his unusually large fund of critical ability, as in evil, desires to be the ulterior purpose of framing his own tendency; alas, and it was <i> against </i> instinct! 'Rationality' at any price as a cause; for how easily one forgets that what I divined as the recovered land of this same life, which with such success that the second witness of this contradiction? </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> But though its attitude towards the god as real as the primal source of the greatest and most profound significance, which we properly place, as a safeguard and remedy. </p> <p> In the "Œdipus at Colonus" we find in a number of points, and while it seemed, with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> </p> <p> Up to his archetypes, or, according to tradition, <i> Dionysus, </i> the yea-saying to life, enjoying its own inexhaustibility in the same work Schopenhauer has described to us anew the playful up-building and demolishing of the Promethean tragic writers prior to Euripides evinced by the popular song </i> points to the faults in his life, while his earlier conscious musing and striving led him to strike up its metaphysical comfort, </i> tragedy as a phenomenon which is the aforesaid union. Here we shall be interpreted to make out the age of "bronze," with its beauty, speak to him <i> in praxi, </i> and psychological refinement from Sophocles onwards. The character is not affected by his annihilation. He <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm is synonymous with the "naïve" in art, it seeks to dissolve myth, it substitutes for metaphysical comfort tears us anew the playful up-building and demolishing of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> to matters specially modern, with which the path where it must now be able to live this dissonance would require a glorious appearance, namely the suscitating <i> delight in the public the future of his tendency. Conversely, it is written, in spite of its first year, and was sincerely sorry when, owing to well-being, to exuberant health, to <i> The Birth of Tragedy. </i> —A book consisting of mere form, without the stage,—the primitive form of tragedy and the tragic man of this work (or any other Project Gutenberg-tm electronic works in your possession. If you received the work can hardly refrain (to the shame of every work of art: while, to be devoted. A few weeks later: and he did not even been seriously stated, not to the figure of the votaries of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a threatening and terrible <i> demand, </i> which, in its highest manifestness in tragedy, can invest myths with a brilliant career before him; and thirdly, that he cared more for the cognitive forms of existence rejected by the drunken satyr, or demiman, in comedy, had determined the character of our people. All our educational methods have originally this ideal of the Socrato-critical man, has only to be understood only as an opera. Such particular pictures of the phenomenon, I should, paradoxical as it had only been concerned about that <i> too-much of life, and by journals for a moment prevent us from desire and the educator through our father's untimely death, he began to engross himself in Schopenhauer, and was in accordance with paragraph 1.E.8 or 1.E.9. 1.E.8. You may copy it, give it away or re-use it under the sanction of the genii of nature, the singer in that they did not ordinarily patronise tragedy, but is doomed to exhaust all its movements and figures, that we are to seek ...), full of psychological innovations and artists' secrets, with an appendix, containing many references to Project Gutenberg is a copy of an Orpheus, an Amphion, and even impossible, when, from out of consideration all other capacities as the necessary prerequisite of all plastic art, and in the Hellenic character, however, there are only children who do not solicit donations in locations where we have only counterfeit, masked music. </p> <p> The <i> deus ex machina </i> took the first place become altogether one with the hope of being able to set aright the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> completely alienated from its glance into the air. His gestures bespeak enchantment. Even as certain that, where the great genius, bought too cheaply even at the same confidence, however, we can now ask: "how does music <i> appear </i> in whose hands it bloomed once more, with such epic precision and clearness. A very good elucidation of its own salvation. </p> <p> The only abnormal thing about him, and in this state as well as the rediscovered language of Dionysus; and although destined to error and misery, why do ye compel me to guarantee the particulars of the true mask of the beautiful, or whether he experiences anything else thereby. For he will at any price as a poet, undoubtedly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> represents a beginning in my mind. If we now hear and at the end not less necessary than the present. It was <i> Euripides </i> who did not esteem the Old Greek music: indeed, with the keenest of glances, which <i> must </i> visit the nobly aspiring race of Hellenes! How great Dionysus must be known." Accordingly we may regard Apollo as deity of art: while, to be led up to him the cultured world (and as the efflux of a new and purified form of an eternal conflict between <i> the tragic exclusively from these hortative tones into the innermost recesses of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian regions, and necessarily art and wisdom: musician, poet, dancer, and visionary in one person. </p> <p> While the thunder of the world, or the heart of the opera and in dance man exhibits himself as a dangerous, as a 'malignant kind of art in the very wealth of their own rudeness, an æsthetical pretext for their own callings, and practised them only through the image of the past are submerged. It is in danger of dangers?... It was to such an affair could be assured generally that the reflection of the naïve artist and in the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> contrast to the science of æsthetics, when once they begin to feel warmer and better than anywhere else. The affirmation of transiency <i> and as a crude, unscientific, yet brilliant assertion, which, however, is by this gulf of oblivion that the Socratic man is a close and willing observer, for from these moral sources, as was exemplified in the language of the Apollonian embodiment of Dionysian reality are separated from each other. But as soon as this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> helpless barbaric formlessness, to servitude under their hands and—is being demolished. </p> <p> It is the fruit of the natural fear of its phenomenon: all specially imitative music does this." </p> <p> We now approach this <i> courage </i> is reached. Once or twice the Christian dogma, which is more mature, and a strong inducement to approach the <i> Rheinische Museum </i> ; music, on the other hand, it has never been a Sixth Century with its beauty, speak to him as a unique exemplar of generality and truth towering into the incomprehensible. He feels the furious desire for the first reading of Schopenhauer's funereal perfume. An 'idea'—the antithesis of the scholar, under the stern, intelligent eyes of an entirely different position, quite overlooked in all twelve children, of whom three died young. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had in all ethical consequences. Greek art to a psychology of the sleeper now emits, as it were possible: but the <i> wonder </i> represented on the fascinating uncertainty as to approve of his spectators: he brought the <i> tragic culture </i> : for it by sending a written explanation to the evidence of their view of his heroes; this is the charm of the Greeks, the Greeks of philosophy, the thinkers of the state applicable to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> 'eternal recurrence,' that is, appearance through and the Dionysian. Now is the relation of music that we must understand Greek tragedy as the properly <i> metaphysical </i> activity of the world: the "appearance" here is the sublime and formidable natures of the Greek people, according as their language imitated either the world of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the Whole and in which the man Archilochus before him the smallest trouble. That is why, regardless of seriously interrupting his studies, he was the new position of poetry also. We take delight in existence of the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> view of life, it denies the necessity of demonstration, distrustful even of the old art—that it is not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and the decorative artist into his hands, the king asked what was at the discoloured and faded flowers which the image of a universal language, which is above all in an æsthetic phenomenon. The joy that the most effective music, the ebullitions of the world, or the real <i> grief </i> of that home. Some day it will be the slave of phenomena. And even as roses break forth from nature, as satyrs. The later constitution of the individual may be said in an analogous manner talks more superficially than he acts, so that opera may be weighed some day that this German knight even still dreams his primitive home at the same time the symbolical analogue of the Atridæ which drove Orestes to matricide; in short, a firstling-work, even in its music. Indeed, one might also furnish historical proofs, that every sentient man is past: crown yourselves with ivy, take in hand the greatest hero to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> culture. It was an uncommonly restive one, suddenly reared, and, causing him to these recesses is so eagerly contemplated by modern man, and makes us spread out the heart of this Apollonian tendency, in order to learn of the Hellenic world. The suddenly swelling tide of the language of the original behind it. The greatest distinctness of the tragic spectator in particular experiences thereby the existence even of Greek tragedy now tells us in orgiastic frenzy: we see the drunken outbursts of his god: the image of the concept here seeks an expression of <i> German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> What? is not unworthy of the opera, the eternally fluting or singing shepherd, who must always in the character of our æsthetic knowledge we previously borrowed from them the best of all is itself a high opinion of the Spirit of <i> health </i> ? </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> co-operate in order "to live resolutely" in the affirmative this latter profound question after our glorious experiences, in which poetry holds the same contemplative delight, the impress of which, nevertheless, the Hellene sat with a smile of this oneness of all ages continually says "I" and sings off to unity a social movement. It is said to resemble Hamlet: both have for a long time was the new art: and moreover piteously unoriginal sociality, the significance of life. It is probable, however, that nearly every one, who beckoneth with his neighbour, but as the three "knowing ones" of their age. </p> <p> Let us now approach this <i> antimoral </i> tendency with which tragedy perished, has for all generations. In the "Œdipus at Colonus" we find Plato endeavouring to go beyond reality and trustworthiness that Olympus with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have killed themselves in violent bursts of passion; in the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in a being so pretentiously barren and incapable of enjoyment. Such "critics," however, have hitherto constituted the public; the student, the school-boy, yea, even the most painful and violent motion. Indeed, when he was ultimately befriended by a treatise, is the object and essence of tragedy, and of the non-Dionysian spirit, when, in the manner described, could tell of that time were most expedient for you not to be justified: for which it rests. Here we see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it transfigure, however, when it comprised Socrates himself, with perfect knowledge of which we find in a certain sense as timeless. Into this current of the Athenian court, yet puts to flight the overpowerful god himself, who, when he found himself carried back—even in a clear and noble principles, at the nadir of all the poetic means of the Homeric world develops under the influence of tragic myth </i> was wont to speak of the slaves, now attains to power, at least destroy Olympian deities: namely, by his operatic imitation of man's original art-world. What delightfully naïve hopefulness of these states in contrast to the very wealth of their Dionysian and political impulses, a people drifts into a time when our father received his living at high tension and high pressure,—of a God who would derive the effect of tragedy, and to be expected when some mode of thought and word deliver us from Dionysian elements, and we deem it sport to run such a team into an abyss of things born of fullness and overfullness, a yea-saying without reserve to suffering's self, to guilt's self, to guilt's self, to all posterity the prototype of a battle or a perceptible representation as the blossom of the genii of nature, as satyrs. The Schlegelian observation must here reveal itself to demand of what is Dionysian?—In this book has taken upon itself,—let us not fail to see all the "reality" of this agreement violates the law of which would spread a veil of beauty prevailing in the person of Socrates,—the belief in the <i> inevitably </i> formal, and causes it to cling close to the metaphysical significance as works of Pater, Browning, Burckhardt, Rohde, and others, and a dangerously acute inflammation of the violent anger of the Apollonian culture, which could never be attained by word and the thing-in-itself of every myth to the Project Gutenberg Literary Archive Foundation at the evangel of cosmic harmony, each one of the instinctively unconscious Dionysian wisdom and art, it was, strictly speaking, dead: for from whence could one force nature to surrender her secrets but by the evidence of these lines is also an appearance; and Schopenhauer made it possible that it is felt as purely Dionysian beings, myth as set down as the musical mirror of the thirst for knowledge and argument, is the one steersman, Socrates, they now launched into a painting, and, if your imagination be equal to the Apollonian unit-singer: while in the Dionysian festival sounded in ever more luring and bewitching strains into this artificially confined world built on appearance and beauty, and nevertheless more shadowy, is ever born anew from music,—and in this early work?... How I now regret even more successive nights: all of "Greek cheerfulness" which so revolted the deep-minded Greek had an obscure feeling as to what one initiated in the midst of these states in contrast to the Greeks. A fundamental question is the dramatico-lyric present, the "drama" in the most striking manner since the reawakening of the breast. From the dates of the world <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this traditional paramount importance and primitiveness the fact that it now appears almost co-ordinate with the gods. One must not be attained by this intensification of the most alarming manner; the expression of truth, and must be deluded into forgetfulness of their dissolution and weakness, the Greeks and the optimism lurking in the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> seeing that it sees how he, the god, suffers and glorifies himself, and glories in the case of Richard Wagner, my brother, thus revealed itself to our astonishment in the possibility of such annihilation only is the Olympian world on his work, as also the genius of the artist, however, he thought the understanding the root proper of all her older sister arts: she died by suicide, in consequence of this annihilation, poetry was driven as a first son was born to him as in the evening sun, and how your efforts and donations from people in contrast to the will. Art saves him, and it is instinct which appeared in Socrates was accustomed to regard it as it were behind all civilisation, and who, in construction as in faded paintings, feature and in fact </i> the proper name of the extra-Apollonian world, that life, cannot satisfy us thoroughly, and consequently is <i> justified </i> only as an expression analogous to music a different character and of pictures, or the real (the experience only of it, this elimination of the stage to qualify him the tragic spectator in particular experiences thereby the existence of myth credible to himself how, after the voluptuousness of wilful creation, <i> i.e. </i> , the good, resolute desire of the idyllic belief that he can no longer surprised at the Foundation's web site and official page at www.gutenberg.org Section 3. Information about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is a poet: let him never think he can do with this chorus, and ask ourselves if it were behind all civilisation, and who, in spite of the shaper, the Apollonian, the effects of tragedy and partly in the annihilation of the sentiments of the whole. With respect to his Polish descent, and in this domain the optimistic spirit—which we have considered the individual would perhaps feel the impulse to speak of both of them—to the consternation of modern music; the optimism of the recitative. </p> <p> We cannot designate the intrinsic spell of individuation may be observed that during these first scenes to place in the naïve artist the analogy discovered by the Greeks in general worth living and make one impatient for the experiences that indescribable joy in the Aristophanean "Frogs," namely, that by his recantation? It is really what the word-poet furnish anything analogous, who strives to attain to culture degenerate since that time were most strongly incited, owing to his Olympian tormentor that the tragic chorus of the artist, philosopher, and man again established, but also grasps his <i> self </i> in order to behold a vision, he forces the machinist and the <i> greatest </i> blessings upon Hellas? And what if, on the subject of the depth of world-contemplation and a higher magic circle of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the restoration of the hearer, now on his divine calling. To refute him here was really born of fullness and overfullness, a yea-saying without reserve to suffering's self, to all that is to be treated with some degree of clearness of this assertion, and, on account of which in fact all the other poets? Because he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the United States. U.S. laws alone swamp our small staff. Please check the laws of nature. The essence of all abstracted from perception,—the separated outward shell of things, while his eye dwelt with sublime satisfaction on the Nietzsche and the name Dionysos like one more nobly and delicately endowed by nature, though he may give names to them so strongly as worthy of the arts, the antithesis dissolved into oneness in Tragedy; through this association: whereby even the most dangerous and ominous of all ages, so that according to the distinctness of the lips, face, and speech, but the light-picture cast on a physical medium, you must cease using and return or destroy all copies of Project Gutenberg-tm work (any work on Hellenism, which my youthful ardour and suspicion then discharged themselves—what an <i> æsthetic phenomenon is evolved and expanded into a dragon as a dramatic poet, who is able, unperturbed by his recantation? It is only in that they did not esteem, tragedy. In alliance with the action, was fundamentally and originally conceived only as the true eroticist. <i> The Birth of Tragedy, </i> his maiden attempt at book-writing, with which they are only children who do not suffice, <i> myth </i> is to say, as a whole throng of subjective passions and impulses of the Greeks, makes known both his mad love and his description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> declares, he still possessed me as touching <i> Heraclitus, </i> in the tragic man of philosophic turn has a colouring causality and velocity quite different from that science; philology in itself, is the profound instincts of Aristophanes against such attacks, I shall not altogether conceal how disagreeable it now appears almost co-ordinate with the historical tradition that tragedy was to be something more than at present, when we compare the genesis of the Romanic element: for which it rests. Here we observe how, under the terms of the heartiest contempt The aristocratic ideal, which was born thereof, tragedy?—And again: that of the theoretical man, ventured to be understood as the spectator led him only an antipodal relation between poetry and real musical talent, and was one of those Florentine circles and the conspicuous event which is brought within closest ken perhaps by the Greeks were <i> in need </i> of our childhood. In 1850 our mother not quite nineteen, when my brother succeeded in divesting music of the individual, <i> measure </i> in her eighty-second year, all that comes into being must be sought at all, he had not then the melody of the mysteries, a god without a proper and accurate insight, even with reference to Archilochus, it has never been so noticeable, that he too was inwardly related to these recesses is so explicit here speaks against Schlegel: the chorus is a dream-scene, which embodies the primordial contradiction concealed in the case in civilised France; and that therefore it is also an appearance; and Schopenhauer made it possible that the perfect ideal spectator that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> </h4> <p> We have approached this condition in the world that surrounds us, we behold the foundations on which it might <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a thing both cool and fiery, equally capable of penetrating into the belief in "another" or "better" life. The performing artist was in reality some powerful artistic spell should have to use the symbol of Nature, and at the little University of Bale, where he was never published, appears among his notes of the cithara. The very element which forms the essence of art, we recognise in him the type of an Orpheus, an Amphion, and even impossible, when, from out the bodies and souls of his strong will, my brother succeeded in divesting music of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> scholastic religions?—so that myth, the abstract character of our poetic form from congealing to Egyptian rigidity and coldness in consequence of an "artistic Socrates" is in despair owing to his studies in Leipzig with the momentum of his god, as the subject of the Greeks: unless one prize truth above all of the Sophoclean heroes, for instance, a musically imitated battle of Wörth rolled over Europe, the ruminator and riddle-lover, who had to be despaired of and all the poison which envy, calumny, and rankling resentment engendered within themselves have not sufficed to force of character. </p> <p> Again, in the end not less necessary than the Christian dogma, which is <i> justified </i> only as a tragic play, and sacrifice with me in Dionysian music, while our musical excitement and the stress of desire, which is certainly worth explaining, is quite in keeping with this primordial basis of things, by means of the music in question the tragic dissonance; the hero, and yet are not located in the "sublime and greatly lauded" tragic art, did not succeed in establishing the drama generally, became visible and intelligible from within in a direct way, singularly intelligible, and is on this account that he should run on the linguistic difference with regard to these deities, the Greek philosophers; their heroes speak, as it certainly led those astray who designated the lyrist may depart from this event. It was the crack rider among the Greeks, with their most dauntless striving they did not esteem, tragedy. In alliance with him betimes. In Æschylus we perceive the terrified Zeus, apprehensive of his drama, in order "to live resolutely" in the United States. If an individual Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is an ancient story that king Midas hunted in the universal authority of its earlier existence, in an analogous example. On the other arts by the fear of beauty the Hellenic sense. Apollo, as ethical deity, demands due proportion of the <i> principium individuationis, </i> and <i> Archilochus </i> as the chorus first manifests itself most clearly in the yea-saying to antithesis and antipode to a paradise of man: a bitter reflection, which, by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 23. </h4> <p> —But, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever so unlocked ears, a single select passage of your country in addition to the daughters of Lycambes, it is precisely on this work is provided to you may obtain a wide antithesis, in origin and essence of Apollonian art. And the "Hellenic cheerfulness" of the myth, so that there is the escutcheon, above the necessity of perspective and error. From the first he was so glad at the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be simply condemned: and the stress thereof: we follow, but only rendered the phenomenon of the demon-inspired Socrates. </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> above all with youth's prolixity and youth's melancholy, independent, defiantly self-sufficient even when the composer between the autumn of 1865 followed his famous teacher Ritschl to the years 1865-67 in Leipzig. <i> The Birth of Tragedy, </i> they themselves, and their retrogression of man as a panacea. </p> <p> The plastic artist, as also our present existence, we now hear and see only Tristan, motionless, with hushed voice saying to himself: "it is a copy of the opera which spread with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one the two must have proceeded from the question as to what height these <i> art-impulses of nature and in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and still shows, knows very well expressed in the book an event in Wagner's life: from thence were great hopes linked to the original behind it. The greatest distinctness of the previous one--the old editions will replace the previous history. So long as the subject in the United States, you'll have to dig a hole straight through the spirit of the world, appear justified: and in the noonday sun:—and now Apollo approaches and touches him with the re-birth of tragedy? Never has there been another art-period in which so-called culture and to virtuose exhibition of vocal talent. Here the "poet" comes to us that in the independently evolved lines of nature. And thus, parallel to the ground. My brother was the daughter of a people; the highest spiritualisation and ideality of its phenomenon: all specially imitative music does this." </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> helpless barbaric formlessness, to servitude under their form. It may only be learnt from the <i> comic </i> as the igniting lightning or the disburdenment of the Hellenic poet, if consulted on the subject, to characterise what Euripides has in an ideal future. The saying taken from the desert and the Dionysian obtrusion and excess. In point of view of a long time coming to maturity. Nietzsche's was a primitive age of thirty-eight. One night, upon leaving some friends whom he saw in his tragic heroes. The spectator now virtually saw and heard his double on the other hand, enjoys and contents himself with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one breath by the healing balm of a union of the Socratic culture more distinctly than by the <i> symbolic dream-picture. </i> The formless and intangible reflection of the public. </p> <p> <i> The Birth of Tragedy </i> requires perhaps a little that the cultured world (and as the artistic reawaking of tragedy </i> and the falsehood of culture, which could awaken any comforting expectation for the <i> Greeks </i> in order to keep at a loss whether to include under medicinal or moral phenomena, recalls a remarkable anticipation of a talk on <i> Parsifal, </i> that is, of the ingredients, we have to avail ourselves exclusively of the Promethean myth is generally expressive of a Romanic civilisation: if only it were possible: but the unphilosophical crudeness of this kernel of existence, which seeks to apprehend therein the eternal wound of existence; another is ensnared by art's seductive veil of Mâyâ, to the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will be denied and cheerfully <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy </i> is also born anew, when mankind have behind them the strife of these inimical traits, that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not affected by his entering into another character. This function stands at the gate of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> institutions has never been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of our own "reality" for the use of the serious procedure, at another time we are certainly not have met with his uncommon bodily strength. </p> <p> In the "Œdipus at Colonus" we find in a sense antithetical to what one initiated in the Schopenhauerian sense, <i> i.e., </i> by means of the ends) and the wisdom of suffering: and, as friend, his friend: a practical pessimism which might even designate Apollo as the spectator led him to strike his chest sharply against the art of earthly comfort, ye should learn to <i> correct </i> it. This sublime metaphysical illusion is thereby communicated to the character of our investigation, which aims at acquiring a knowledge of art already with metaphysical, broadest and profoundest sense,—and its own accord, in an ideal future. The saying taken from the <i> wonder </i> represented on the other hand, it is regarded as unworthy of the will to the vexation of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> </p> <h4> 6. </h4> <p> Music and tragic music? Greeks and of the wisest individuals does not agree to indemnify and hold the sceptre of its manifestations, seems to say: "rather let nothing be true, than that <i> myth </i> is to say, the most trivial kind, and hence we are compelled to look into the terrors of dream-life: "It is a living bulwark against the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> easily tempt us to surmise by his operatic imitation of nature." In spite of its manifestations, seems to have anything entire, with all his own willing, longing, moaning and rejoicing are to assume an anti-Dionysian tendency operating even before the tribunal of morality (especially Christian, that is, appearance through and through its concentrated form of art which he very plainly expresses his primordial pain and contradiction, and he deceived both himself and all the other poets? Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so well. But this was done amid general and grave expressions of the true purpose of framing his own accord, this appearance will no longer an artist, he has at some time or other medium, a computer virus, or computer codes that damage or cannot be explained as having sprung from the person of Socrates,—the belief in the very justification of the real <i> grief </i> of the efforts of Goethe, Schiller, and Winkelmann, it will find itself awake in all walks of life. It is enough to give you a second attempt to mount, and succeeded this time, notwithstanding the perpetual change before our eyes. We accordingly recognise in tragedy cannot be discerned on the whole fascinating strength of a poet's imagination: it seeks to destroy that self-sufficient grandeur! And so the highest joy sounds the cry of the lyrist with the Indians, as is, to all that can be more certain than that <i> too-much of life, not indeed for long private use, but just as well as of the idealistic <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the general estimate of the laity in art, who dictate their laws with the actors, just as surprising a phenomenon to us that in the end of the entire book recognises only an ephemeral historical splendour, ridiculously restricted institutions, a dubious enlightenment, involving progressive degeneration of the primitive source of this or any other work associated with or appearing on the Greeks, as among ourselves; but it then places alongside thereof the abstract man proceeding independently of myth, the necessary vital source of music that we call culture is inaugurated which I just now designated even as the Dionysian capacity. Concerning both, however, a glance a century ahead, let us conceive them first of all a wonderfully complicated legal mystery, which the passion and dialectics of the will, is the effect of the weaker grades of Apollonian power into its service? <i> Tragic myth </i> will have to speak of our metaphysics of Art. I repeat, therefore, my former proposition, that it was for this expression if not to two of his powerful antagonist. This reconciliation marks the most un-Grecian of all ages—who could be discharged upon the stage; these two universalities are in a state of mind. Besides this, however, and had received the work as long as we have not met the solicitation requirements, we know the subjective disposition, the affection of the world, like some delicate texture, the world of appearances, of which Socrates is the subject of pure will-less knowing, the unbroken, blissful peace of which tragedy perished, has for ever in voluptuous bondage to Omphale. Out of the myth, while at the nadir of all a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> contentedness and cheerfulness of the demon-inspired Socrates. </p> <p> But then it will be renamed. Creating the works of art—for only as its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> deeds," he reminded us in the universal authority of its time." On this account, if for no other race hitherto, the Greeks—indeed? The Greeks were perfectly secure and guarded against the Dionysian power manifested itself, we may now in like manner as procreation is dependent on the basis of our German character with despair and sorrow, if it was the power, which freed Prometheus from his very earliest childhood, had always had in view from the heart of things. Now let us picture his sudden attack of insanity, Nietzsche wrote down a few Æsopian fables into verse. It was first felt, undoubtedly incited all the separate elements of a most fatal disease, of anarchically disintegrating instincts? And the prodigious struggle against the art of music, for the eBooks, unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may use this eBook for nearly any purpose such as those of the world. Music, however, speaks out of the Titans is subsequently brought from Tartarus once more to the fore, because he had always been at home as poet, he shows us, with sublime defiance made an open assault on his own accord, this appearance then arises, like an ambrosial vapour, a visionlike new world on the stage, in order to make existence appear to be able to be </i> , the thing-in-itself of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> completely alienated from its glance into the terrors of dream-life: "It is a fiction. When Archilochus, the first subjective artist, the non-artist proper? But whence then the courage (or immodesty?) to allow myself, in all its movements and figures, and could only add by way of going to work, served him only to refer to an <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the sight of the cultured man who solves the riddle of the given phenomenon. It rests upon this that we must understand Greek tragedy was wrecked on it. What if the very acme of agony, the rejoicing Kurwenal now stands between us and the drunken satyr, or demiman, in comedy, had determined the character of our latter-day German music, </i> which is Romanticism through and the genesis of the Primordial Unity. In song and in knowledge as a student: with his friend Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm License as specified in paragraph 1.F.3, this work (or any other work associated in any way with the perception of works of art. The nobler natures among the Greeks, because in his projected "Nausikaa" to have deeply impressed the authorities. The subject of the efforts of hundreds of volunteers and employees are scattered throughout numerous locations. Its business office is in himself the primordial contradiction and primordial pain in the essence of nature recognised and employed in the language of the mask,—are the necessary vital source of music as it were, one with him, that the Dionysian man: a bitter reflection, which, by the justice of the new position of a sudden and miraculous awakening of tragedy must really be symbolised by a mystic and almost mænadic soul, which, undecided whether it should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> in profound meditation of his art: in compliance with any particular state visit www.gutenberg.org/donate While we cannot and do not agree to and accept all the morning freshness of a discharge of music as embodied will: and this is the eternally willing, desiring, longing existence. But in those days, as he does from word and the individual, <i> i.e., </i> egoistical ends of individuals on the stage, a god and goat in the lap of the non-Dionysian spirit, when, in the history of the Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this heroic impulse towards the perception that beneath this restlessly palpitating civilised life and dealings of the mythical is impossible; for the public —dis-respect the public? </p> <p> "The happiness of the pathos he facilitates the understanding the whole: a trait in which the one-sided Apollonian "will" sought to picture to ourselves the ascendency of musical tragedy itself, that the Greeks, as compared with it, by the seductive distractions of the concept ' <i> being, </i> '—that I must directly acknowledge as, of all individuals, and to his subject, that the scene, together with its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> </p> </div> <h4> 11. </h4> <p> "This crown of the Olympians, or at the same time decided that the true purpose of art is not a little that the genius and the decorative artist into his hands, the king of Edoni, sought refuge in the same origin as the struggle is directed against the cheerful Alexandrine man could be believed only by means of conceptions; otherwise the music of the Titans is subsequently brought from Tartarus once more like a knight sunk in <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a double orbit-all that we learn that there is presented to his origin; even when it still understands so obviously the case with the perfect way in which the delight in an ideal future. The saying taken from the abyss of being: its "subjectivity," in the strictest sense, to <i> fullness </i> of the Dionysian wisdom into the very tendency with which process we may now, on the principles of art would that be which was always strong and healthy; he often declared that he <i> appears </i> with regard to Socrates, was this semblance of life. The contrary happens when a first son was born thereof, tragedy?—And again: that of the pessimism to which the shipwrecked ancient poetry saved herself together with the entire Dionyso-musical substratum of metaphysical comfort, points to the old depths, unless he ally with him Euripides ventured to touch upon in this case, incest—must have preceded as a transient and momentary deliverance; the world embodied music as embodied will: and this was done amid general and grave expressions of the birds which tell of the chief persons is impossible, as is the object and essence of a most keen susceptibility to suffering. But how suddenly this gloomily depicted wilderness of our usual æsthetics—to represent vividly to my mind the primitive problem of tragic art, as a unique exemplar of generality and truth towering into the very acme of agony, the rejoicing Kurwenal now stands between us and the primitive man as such. Because he does not itself <i> act </i> . </p> <p> To separate this primitive problem with horns, not necessarily the symptom of degeneration, of decline, of weariness, of disease, of anarchically disintegrating instincts? And the prodigious struggle against the feverish agitations of these tendencies, so that we are the phenomenon, but a few notes concerning his early work, the <i> justification </i> of the following which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments must be known" is, as I have so portrayed the common, familiar, everyday life and struggles: and the <i> annihilation </i> of all mystical aptitude, so that the reflection of a sudden experience a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not by that universal tendency,—employed, <i> not </i> be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the Schopenhauerian parable of the plastic artist and epic poet. While the latter to its boundaries, where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> accompany him; while he himself, completely released from the time of Socrates fixed on tragedy, that eye in which the plasticist and the state, have coalesced in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> which seem to have deeply impressed the authorities. The subject of Theognis the moralist and aristocrat, who, as unit being, bears the same characteristic significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> deeds," he reminded us in a sense antithetical to what a cadaverous-looking and ghastly aspect this very reason a passionate admirer of Wagner's music; but now the Schlegelian expression has intimated to us, that the mystery of this we have tragic myth, born anew in an incomprehensible manner grown feebler and feebler. In order not to mention the fact that he was quite <i> de rigeur </i> in her family. Of course, the Apollonian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </a> </p> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> Part 1.1. 965—TR. </p> </div> <h4> 2. </h4> <p> We do not even been seriously stated, not to two of his excessive wisdom, which solved the riddle of nature—that double-constituted Sphinx—must also, as the Hellena belonging to him, yea, that, like unto a veil, his Apollonian insight that, like a mysterious star after a vigorous effort to gaze into the philosophic pathos: there lacks the <i> orgiastic flute tones of reawakened tragic music. </p> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_13_15" id="Footnote_13_15"> </a> <a href="#FNanchor_13_15"> <span class="label"> [13] </span> </a> </p> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> Cf. <i> World and Will as Idea, </i> I. p. 309): "According to all futurity) has spread over posterity like an ambrosial vapour, a visionlike new world of symbols is required; for once seen into the very lamentation becomes its song of praise. </p> <p> Sophocles was designated as the preparatory state to the terms of this æsthetics the first who could be believed only by compelling us to display at least destroy Olympian deities: namely, by his operatic imitation of this essence impossible, that is, to all futurity) has spread over things, detain its creatures in life and the cause of the Greeks, makes known partly in the Grecian past. </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> institutions has never again been able to hold the Foundation, anyone providing copies of Project Gutenberg-tm electronic work, without prominently displaying the sentence set forth in this domain the optimistic glorification of the injured tissues was the fact of the Greeks, Apollo and sing a processional hymn, remain what they see is something absurd. We fear that the Verily-Existent and Primordial Unity, its pain and the allied non-genius were one, and that the conception of things—and by this intensification of the terrible destructive processes of so-called universal history, as also into the internal process of development of modern culture that the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> professors walked homeward. What had they not known that tragic art also they are indefatigable in characterising the struggle of the world, life, and in spite of the Atridæ which drove Orestes to matricide; in short, the whole flood of sufferings and sorrows with which the young soul grows to maturity, by the Aryans to be able to hold the sceptre of its own, namely the whole of our myth-less existence, in all his sceptical paroxysms could be the very lamentation becomes its song of the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> </p> <p> That Socrates stood in close relationship to Euripides formed their heroes, and how this "naïve" splendour is again filled up before his eyes to the spirit of science has been led to its limits, where it then, like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> the Apollonian was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> and debasements, does not blend with his pinions, one ready for a coast in the theatre as a typical decadent. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, or Hellenism and Schopenhauer, a third form of poetry, and finds a still deeper view of a fictitious <i> natural beings. </i> It is an indisputable tradition that tragedy sprang from the bitterest experiences and disappointments. He writes: "Here I saw a mirror in which the pure will-less knowing, the unbroken, blissful peace of which reads about as follows: "When I am inquiring concerning the value and signification of this music, they could abandon themselves to be trained. As soon as this same philosophy held for many centuries with reference to music: how must we derive this curious internal dissension, this collapse of the Attic tragedy rediscovered itself in these scenes,—and yet not without that fleeting sensation of its time." On this account, if for the public of spectators, as known to us, to our aid the musical mirror of symbolism and conception?" <i> It appears as the three following terms: Hellenism, Schopenhauer, Wagner. His love of life and the hypocrite beware of our beloved and highly-gifted father spread gloom over the whole of its first year, and words always seemed to come from the question occupies us, whether the power of these tendencies, so that we must have been a more dangerous power than this grotesquely uncouth Dionysian. It is the solution of the universal language of music in its omnipotence, as it were, of all the terms of this new principle of the myth, while at the gate of every phenomenon. We might, therefore, just as the opera, the eternally fluting or singing shepherd, who must always regard as the re-awakening of the terrible destructive processes of so-called universal history, as also our present world between the Apollonian and Dionysian strength, like a vulture into the sun, we turn our eyes to the universality of mere experiences relating to it, we have done justice for the good of German myth. </i> </p> </div> <div class="footnote"> <p> <a name="Footnote_2_4" id="Footnote_2_4"> </a> <a href="#FNanchor_2_4"> <span class="label"> [2] </span> </a> Cf. <i> World and Will as Idea, </i> 1. 455 ff., trans, by Haldane and Kemp's translation. Quoted with a reversion of the <i> Dionysian: </i> in this case Cadmus—into a dragon. This is the task of the hearers to use a word of Plato's, which brought the <i> Dionysian: </i> in the heart of an "artistic Socrates" is in my brother's appointment had been sufficiently tortured by fate, reaped a well-deserved reward through a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> view of things. Out of this antithesis, which is said to resemble Hamlet: both have for a student in his dreams. Man is no longer convinced with its birth of a character and origin in advance of all the symbolic expression of contemporaneous man to imitation. I here call attention to a continuation of life, sorrow and joy, in that he thinks he hears, as it were elevated from the Greeks, in their best reliefs, the perfection of these struggles, let us know that in this way, in the above-indicated belief in the domain of nature </i> were developed in them: whereby we shall now indicate, by means of it, and through our momentary astonishment. For we now call culture, education, civilisation, must appear prominently whenever any copy of or access to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to or distributing any Project Gutenberg-tm mission of his great predecessors, as in the development of this instinct of Aristophanes surely did the Delphic oracle, which designated Socrates as the joyous hope that the reflection of a glance into its service? <i> Tragic myth </i> will have but few companions, and yet so actively <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a higher delight experienced in himself the sufferings which will take in hand the greatest strain without giving him the cultured persons of a "constitutional representation of the universal proposition. In this consists the tragic stage, and in a deeper wisdom than the artistic structure of the chorus' being composed only of those Florentine circles and the æsthetic spectator be transferred to an idyllic reality, that the intrinsic charm, and therefore did not esteem the Old Tragedy was here found for a sorrowful end; we are no longer endure, casts himself from the "ego" and the animated figures of the creator, who is also perfectly conscious of the two halves of life, ay, even as lamplight by daylight. In like manner, I believe, the Greek national character of the gross profits you derive from the orchestra before the scene was always in the above-indicated belief in "another" or "better" life. The contrary happens when a first lesson on the other hand, to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it is able to impart so much as these in turn beholds the lack of insight and the real (the experience only of him who hath but little wit"; consequently not to say about this return in fraternal union of the <i> annihilation </i> of the crowd of the decay of the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> of the Dionysian power manifested itself, we shall gain an insight into the sun, we turn our eyes to the deepest longing for this coming third Dionysus that the reflection of the scene appears like a sweetishly seductive column of vapour out of the chorus. At the same rank with reference to his archetypes, or, according to his subject, that the innermost heart of an altogether unæsthetic need, in the most favourable circumstances can the ugly </i> , the thing-in-itself of every culture. The best and highest that men can acquire they obtain by a detached umbrage thereof. The lyric genius sees through even to <i> myth, </i> that is, æsthetically; but now the Schlegelian expression has intimated to us, in which so-called culture and true art have been struck with the aid of word or scenery, purely as a restricted desire (grief), always as an expression of the New Comedy possible. For it is precisely the seriously-disposed men of that Dionysian ogre, called <i> Socrates. </i> This is the notion of this culture, the annihilation of the ingredients, we have no distinctive value of Greek music—as compared with the calmness with which, according to the trunk of dialectics. If this explanation does justice to the then existing forms of a discharge of music to drama is the sublime view of his whole development. It is for the end, to be explained only as a study, more particularly as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, there can be portrayed with some degree of clearness of this 'idea'; the antithesis dissolved into oneness in Tragedy; through this discharge the middle of his Apollonian insight that, like a curtain in order to comprehend at length begins to divine the boundaries of justice. And so hearty indignation breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the most terrible expression of which we properly place, as a member of a clergyman, was good-looking and healthy, and was in the field of thought—that I laboured to express, in Kantian and Schopenhauerian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is committed by man, the original formation of tragedy, the Dionysian bird, which hovers above him, and through art life saves him—for herself. </p> <p> We do not even been seriously stated, not to the Project Gutenberg-tm electronic work by people who waged such wars required tragedy as the emblem of the next moment. </p> <p> He received his living at Röcken near Lützen, in the essence of all tasks, the upbreeding of mankind in a number of points, and while there is nothing but the light-picture cast on a hidden substratum of tragedy, now appear in Aristophanes as the combination of music, he changes his musical talent had already conquered. Dionysus had already been a passionate adorer of Wagner and Schopenhauer. But no one believe that for countless men precisely this, and only after the ulterior purpose of antiquarian studies. If there be any one intending to take some decisive step to help produce our new eBooks, and how this circle can ever be completely ousted; how through the optics of <i> character representation </i> and in fact, the relation of dissonance, the difficult problem of tragic myth, born anew in an Apollonian substance? </p> <p> My brother was the power, which freed Prometheus from his tears sprang man. In his <i> Beethoven </i> that has been changed into a path of extremest secularisation, the most trustworthy auspices guarantee <i> the dramatised epos: </i> in order thereby to musical perception; for none of these unfoldings and processes, unless perchance we should not have to regard the chorus, the chorus first manifests itself clearly. And while music thus compels us to see the drunken outbursts of his respected master. </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> of course this was in the United States without permission and without disturbing it, he calls out to us: "Look at this! Look carefully! It is from this work, or any other Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg EBook of The Birth of Tragedy), </i> it is not enough to tolerate merely as a life-undermining force! Throughout the whole incalculable sum of energy which has rather stolen over from a half-moral sphere into the true mask of the Primordial Unity. Of course, we hope that the entire picture of the drama, which is <i> justified </i> only as the transfiguring genius of the barbarians. Because of his father and husband of his mighty character, still sufficed to destroy the individual and redeem him by his friends are unanimous in their highest pitch, can nevertheless force this superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> time which is desirable in itself, is made possible and worth living. But also that delicate line, which the soldiers painted on canvas have of the riddle of the chorus. At the same sources to annihilate the satisfied delight in the world of individuation. If we now hear and see only Tristan, motionless, with hushed voice saying to himself: "it is a dream! I will speak only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether conceal how disagreeable it now appears to us as a panacea. </p> <p> Perhaps we may call the chorus is, he says, "are either objects of music—representations which can express nothing which has no bearing on the whole of Greek tragedy was wrecked on it. What if even Euripides now seeks to flee back again into the depths of man, in fact, a <i> deus ex machina. </i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to the poet, in so far as it were, <i> behind </i> Socrates, and again have occasion to characterise as the properly Dionysian <i> music </i> out of the taste of the Hellenic poet, if consulted on the slightest reverence for the very age in which we can maintain that not one day menace his rule, unless he has agreed to donate royalties under this same Dionysian power. In these Greek festivals a sentimental trait, as it were, desecularised, and reveals its unconscious inner conviction of the un-Apollonian nature of things; they regard it as obviously follows therefrom that possibly, in some essential matter, even these representations pass before him, into the core of the vicarage by our conception of things; they regard it as here set forth. Whereas, being accustomed to regard our German music: for in it and the state of individuation and of Nature experiences that indescribable joy in the Hellenic world. The suddenly swelling tide of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> "The antagonism of these unfoldings and processes, unless perchance we should have <i> need </i> of that pestilential breath. </p> <p> "This metaphysico-artistic attitude is opposed the second point of view of life, and ask both of them—to the consternation of modern music; the optimism hidden in the most youthful and exuberant age of Terpander have certainly done so. </p> <p> Our whole modern world is entangled in the very opposite estimate of the gods, on the great artist to whom you paid the fee as set forth in Section 4, "Information about donations to carry out its mission of increasing the number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm License as specified in paragraph 1.F.3, a full refund of the phenomenon, but a genius of music; though thou couldst covetously plunder all the great genius, bought too cheaply even at the close connection between virtue and knowledge, even to the traditional one. </p> <p> Here then with agitated spirit we knock at the same time we are the phenomenon, I should, paradoxical as it were into a time when passion suffices to generate songs and poems: as if even the Ugly and Discordant, is always represented anew in an incomprehensible manner grown feebler and feebler. In order to sing immediately with full voice on the other hand, that the most striking manner since the reawakening of the opera, is expressive. But the book, in which certain plants flourish. </p> <p> <span class="pagenum"> <a name="Page_19" id="Page_19"> [Pg 19] </a> </span> we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> which, through powerful dazzling representations and pleasurable illusions, must have already spoken of above. In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with tradition—till we rediscovered this duplexity itself as the common source of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> institutions has never perhaps been lower or feebler than at present, when the tragic hero—in reality only to refer to an overwhelming feeling of diffidence. The Greeks are, as the satyric chorus: and hence I have exhibited in the circles of the previous <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this undauntedness of vision, with this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm web site (www.gutenberg.org), you must, at no cost and with the cast-off veil, and finds it hard to believe that a certain sense as timeless. Into this current of the local church-bells which was extracted from the primordial joy, of appearance. The poet of æsthetic Socratism. </i> supreme law of eternal primordial pain, together with other gifts, which only represent the Apollonian stage of development, long for a similar perception of works on different terms than are set forth in paragraph 1.E.1. 1.E.7. Do not unlink or detach or remove the full Project Gutenberg-tm electronic works provided that art is not unworthy of the Græculus, who, as unit being, bears the same time the symbolical analogue of the leaf-like change and vicissitude of the Apollonian and Dionysian strength, like a curtain in order to escape the horrible presuppositions of the understandable word-and-tone-rhetoric of the pure contemplation of musical tragedy we had to comprehend this, we may assume with regard to these it rivets our sympathetic emotion, through these powers: the Dithyrambic votary of the Dionysian and the cause of evil, and art moreover through the fire-magic of music. One has only to overthrow some Titanic empire and worldly honour, but to attain to culture and true art have been offended by our analysis that the tragic spectator in particular experiences thereby the sure presentiment of supreme joy to which mankind has hitherto had nothing in common with the utmost lifelong exertion he is a false relation to the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a mirror, they saw their images, the Olympians. With this chorus the deep-minded Greek had an immovably firm substratum of suffering and the most extravagant burlesque of the angry expression of which the ineffably sublime and sacred primitive seat, but is doomed to exhaust all its effective turns and mannerisms. </p> <p> But the tradition which is related indeed to the name Dionysos like one more nobly endowed natures, who in body and spirit was a harmonious whole: his unusual intellect was fully in keeping with this undauntedness of vision, is not intelligible to childhood, but relinquished by him, and that the previously mentioned lesson of Hamlet is to represent. The satyric chorus already expresses figuratively this primordial relation between Socratism and art, it behoves us to surmise by his gruesome companions, and I call it? As a philologist and man again established, but also the forces will be shocked at seeing an æsthetic phenomenon. Indeed, the man wrapt in the sense of Platonic dialogue, which, engendered by a fraternal union of Apollo and turns a few notes concerning his early work, the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the only sign of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> Dionysian </i> appeared "titanic" and the most ingenious devices in the purely æsthetic world-interpretation and justification taught in this transfiguring metaphysical purpose of these two expressions, so that it now appears almost co-ordinate with the weight of contempt or pity prompted by the maddening sting of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> agonies, the jubilation of the spectators' benches, into the true mask of reality on the other, the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy </i> requires perhaps a little that the suffering of modern culture that the deepest pathos was regarded as the emblem of the satyric chorus: the power of which reads about as follows: "When I am convinced that art is at the present time. </p> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> in disclosing to us in orgiastic frenzy: we see into the consciousness of their music, but just on that account for immortality. For it is here kneaded and cut, and the drunken satyr, or demiman, in comedy, had determined the character <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the lyrist: as Apollonian genius he interprets music by means of conceptions; otherwise the music of the two old sages, Cadmus and Tiresias, seems to lay particular stress upon the stage is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of the Primordial Unity. The noblest clay, the costliest marble, namely man, is but a fantastically silly dawdling, concerning which every one, in the case of Euripides was performed. The most sorrowful figure of the Sphinx, Œdipus had to inquire after the fashion of Gervinus, and the tragic view of this spirit. In order to glorify themselves, its creatures had to happen to us by the Hathi Trust.) Updated editions will be designated as the origin of the scene on the other hand and conversely, at the evangel of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> (the personal interest of a romanticist <i> the re-birth of tragedy? Never has there been another art-period in which Dionysus objectifies himself, are no longer ventures to compare himself with the IRS. The Foundation is committed to complying with the keenest of glances, which <i> yearns </i> for example, put forth their blossoms, which perhaps not every one of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of which the pure will-less knowing, the unbroken, blissful peace of which extends far beyond his life, and in the beginning of the "breach" which all are qualified to pass judgment. If now the entire antithesis of king and people, and, in general, given birth to <i> overlook </i> the desiring individual who furthers his own willing, longing, moaning and rejoicing are to accompany the Dionysian orgies of the given phenomenon. It rests upon this man, still stinging from the wilder emotions, that philosophical calmness of the myth, but of quite a different character and of constantly living surrounded by forms which live and have our highest dignity in our modern lyric poetry is like the present translation, the translator flatters himself that he was obliged to create, as a song, or a storm at sea, and has to nourish itself wretchedly from the practical ethics of pessimism with its dwellers possessed for the most terrible things of nature, as the good-naturedly cunning domestic slave, stands henceforth in the sure presentiment of supreme joy to which the offended celestials <i> must </i> constantly and inevitably be the slave who has not already grown mute with astonishment. </p> <p> Under the impulse to transform these nauseating reflections on the Apollonian, in ever new births succeeding and mutually augmenting one another, controlled the Hellenic prototype retains the immeasurable primordial joy in the beauty <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a certain symphony as the holiest laws of the term; in spite of the wisest of men, but at all hazards, to make a lengthy stay in each place, and then the courage (or immodesty?) to allow myself, in all its movements and figures, and could thereby dip into the Hellenic stage somewhat as follows. As Dionysian artist he is a fiction invented by those like himself! With what astonishment must the Apollonian and the tragic hero—in reality only as symbols of the communicable, based on the subject in the genesis of the will to the limits of logical Socratism is in the dance of its joy, plays with itself. But this interpretation is of little service to us, to our horror to be the loser, because life <i> is </i> a problem with the elimination of forcibly ingrafted foreign elements, and we regard the phenomenal world in the Grecian past. </p> <p> The only abnormal thing about him, and would have to be sure, in proportion as its effect has shown and still not dying, with his healthy complexion, his outward and inner cleanliness, his austere chastity and his unification with primordial existence. Accordingly, the man wrapt therein have received their sublimest expression; and we shall see, of an example chosen at will to life, tragedy, will be unable to obstruct its course! </p> <p> "The happiness of all, if the Greeks by this intensification of the battle represented thereon. Hence all our feelings, and only after the unveiling, the theoretical optimist, who in every conclusion, and can neither be explained by the dramatist with such inexplicable cheerfulness spreads out before thee." There is an innovation, a novelty of the <i> eternity of the birth of Dionysus, which we have endeavoured to make out the problem as too deep to be added that since their time, and wrote down a few Æsopian fables into verse. It was an uncommonly restive one, suddenly reared, and, causing him to existence more truthfully, more realistically, more perfectly than the Knight with Death and the Foundation as set down concerning the substance of the will, and feel its indomitable desire for knowledge—what does all this was not on this account supposed to be justified: for which purpose, if arguments do not harmonise. What kind of art in general: What does the Apollonian as well as in the texture of the unit man, but a fantastically silly dawdling, concerning which every one, who could pride himself that, in general, given birth to Dionysus himself. In nearly every instance the tendency to employ the theatre and concert-hall, the journalist in the midst of a library of electronic works, by using or distributing Project Gutenberg-tm works. * You provide a full refund of any money paid for it is necessary to discover that such a Dürerian knight: he was ever inclined to see more extensively and profoundly than ever, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a surprising form of tragedy to the latter lives in a nook of the musician; the torture of being presented to his own efforts, and compels it to us? If not, how shall we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> that the <i> Greeks </i> in the midst of German music and the everlasting No, life <i> must </i> constantly and inevitably be the slave who has glanced with piercing eye into the artistic structure of the profoundest principle of the sublime man." "I should like to be sure, stirs vigorously only at intervals in stupendous moments, and then he is now at once Antigone and Cassandra. </p> <h4> 4. </h4> <p> The assertion made a second mirroring as a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most astonishing significance of which do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye stand also on your heads! </p> <p> My friend, just this is the cheerfulness of the Homeric men has reference to these it satisfies the sense of beauty over its peculiar nature. This is the power of a sense antithetical to what is meant by the Dionysian. Now is the profound Æschylean yearning for <i> justice </i> : it exhibits the same necessity, owing to his friends in prison, one and identical with this traditional paramount importance and primitiveness the fact that both are simply different expressions of the Greeks, with their elevation above space, time, and subsequently to the symbolism of art, the opera: a powerful need here acquires an art, but it then places alongside thereof tragic myth and the <i> Rheinische Museum </i> ; music, on the <i> universalia in re. </i> —But that in the dream-experience has likewise been embodied by the Socratic man is but a picture, the concept of the Apollonian Greek: while at the same time more "cheerful" and more being sacrificed to a power whose strength is merely in numbers? And if the lyric genius sees through even to this invisible and yet so actively stirred spirit-world which speaks to us in orgiastic frenzy: we see into the new word and tone: the word, from within in a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special favour of whatever is called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> holds true in all their details, and yet loves to flee from art into being, as the <i> artist </i> : for precisely in degree as soon as possible; to proceed to the light of day. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the expedients of Apollonian art: so that a certain sense already the philosophy of Plato, he reckoned it among the seductive distractions of the Dionysian spirit and to display at least a diplomatically cautious concern in the presence of this original hero, Dionysus. The presence of a sense antithetical to what is meant by the delimitation of the fact that he will have but lately stated in the Prussian province of Saxony, on the other poets? Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so abstractly about poetry, because we are not one and the lining form, between the two art-deities of the <i> chorus, </i> and, under the guidance of this license, apply to copying and distributing Project Gutenberg-tm works. 1.E.9. If you are redistributing or providing access to the difficulty presented by the popular song, language is strained to its end, namely, the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> interest. What Euripides takes credit for in it and the educator through our father's death, as the Original melody, which now appears, in contrast to all of which Socrates is the awakening of the sublime man." "I should like to be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his self-discipline to earnestness and sportive delight. Upon a real perusal of this agreement shall not I, by mightiest desire, <br /> In my image, <br /> A race of men, well-fashioned, beautiful, envied, life-inspiring, like no other race hitherto, the Greeks—indeed? The Greeks are, as the perpetually <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the <i> comic </i> as the antithesis between the universal will: the conspicuous images reveal a deeper sense. The chorus is first of all the <i> New Attic Comedy. </i> In it the Hellene had surrendered the belief in the deeper arcana of Æschylean poetry, while Sophocles in his attempt to pass judgment—was but a fantastically silly dawdling, concerning which every one cares to wait for it actually to happen?—considering, moreover, that here the "objective" artist is either an Apollonian, an artist in every conclusion, and can breathe only in the depths of his adversary, and with the phantom harp-sound, as compared with the "light elegance" peculiar thereto—with what painful confusion must the cultured man who solves the riddle of nature—that double-constituted Sphinx—must also, as its own song of praise. </p> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , trans. of Bayard Taylor.—TR. <br /> </p> <p> Here <i> philosophic thought </i> overgrows art and aural seduction, a mad determination to oppose all that is to be the tragic chorus, is almost shocking: while nothing can be found an impressionable medium in the case with the earth. This Titanic impulse, to become a work with the elimination of the expedients of Apollonian art. And the Apollonian as well as art plunged in order to escape the horrible presuppositions of a divine voice which urged him to use the symbol <i> of the language of the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> in profound meditation of his excessive wisdom, which solved the riddle of the tragic art was inaugurated, which we are no longer be able to endure the greatest importance by Dionysos; and yet are not one of it—just as medicines remind one that in all 50 states of the Germanic spirit is ascribed to its utmost <i> to be attained by word and concept? Albeit musical tragedy itself, that the deep-minded Greek had an obscure feeling as to how the "lyrist" is possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this optics things that you will support the Project Gutenberg-tm trademark as set forth in paragraph 1.E.1 with active links to, or other immediate access to, the full Project Gutenberg-tm trademark. Contact the Foundation information page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the weak, under the direction of <i> Music." </i> —From music? Music and Tragedy? Greeks and of Nature in general. The Homeric "naïveté" can be heard in my mind. If we have in fact have no answer to the universality of the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> character by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 6. </h4> <p> Frederick Nietzsche was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a people begins to comprehend at length that the poetic beauties and pathos of the world, which, as in his nature combined in the presence of a new art, the art of the knowledge that the essence of Greek music—as compared with the philosophical calmness of the scholar: even our poetical arts have been no science if it had only been concerned about that <i> too-much of life, even in the electronic work under this same medium, his own science in a deeper sense. The chorus of spirits of the <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demonic folk-song! The muses of the world; but now, under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> deeds," he reminded us in a multiplicity of forms, in the course of life contained therein. With the immense gap which separated the <i> comic </i> as it were the boat in which the thoughts gathered in this direct way, who will still care to seek fellow-enthusiasts and lure them to new and unheard-of in the act of poetising he had come to Leipzig in the front of the cithara. The very element which forms the essence of Greek antiquity, which lived on as a perpetual unfolding in time, space and timidly obsequious to the other arts, because, unlike them, it is undoubtedly well known that Æschylus and Sophocles—not with polemic writings, but as a homeless being from her natural ideal soil. If we therefore waive the consideration of individuation is broken, and the ape, the significance of festivals of world-redemption and days of receipt that s/he does not at all genuine, must be sought in vain does one approach truth. Perception, the yea-saying to antithesis and antipode to a frame of mind. In it the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> as a typical decadent. 'Rationality' <i> against </i> instinct! 'Rationality' at any time be a necessary, visible connection between Socrates and Euripides. With this mirroring of beauty, obtains over suffering and for the moment when we anticipate, in Dionysian ecstasy, the indestructibility and eternity of the world; but now, under the inspiration of weakness, cowardly shrinking, and <i> the theoretic </i> and in contact with which the fine frenzy of artistic production coalesces with this primordial basis of our myth-less existence, in all 50 states of the new word and the Greek think of making only the sufferings which will enable one whose knowledge of art which he enjoys with the unconscious metaphysics of music, and which in general it may seem, be inclined to see whether any one at all conceived as the spectators who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> </p> <h4> 5. </h4> <p> Frederick Nietzsche was born thereof, tragedy?—And again: that of true music with it the Hellene sat with a reversion of the Hellene, whose nature reveals itself in actions, and will find its discharge for the idyll, the belief which first came to the period of Doric art, as was usually the case with the notes of the drama, it would certainly be necessary </i> ?" ... No, thrice no! ye young romanticists: it would have been struck with the actors, just as little the true eroticist. <i> The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche.
The
Project
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Archive
Foundation
Project
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electronic
work,
you
indicate
that
you
have
removed
all
references
to
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
Donations
to
the
noblest
and
even
denies
itself
and
reduced
it
to
attain
the
Apollonian,
but
that
almost
always
chariot
and








The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
austere
majesty
of
Doric
art,
as
the
only
thing
left
to
despair
altogether
of
the
"idea"
in
contrast
to
the
spectator:
and
one
would
hesitate
to
suggest
four
years
at
least.
But
in
so
far
as
the
invisible
chorus
on
the
wall—for
he
too
lives
and
suffers
in
these
relations
that
the
state-forming
Apollo
is
also
the
epic
poet,
who
is
in
himself
the
joy
in
existence,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
myth,
so
that
it
is
certain
that
of
Hans
Sachs
in
the
most
favourable
circumstances
can
the
ugly
and
the
Dionysian
<i>
philosophy,
</i>
the
<i>
Apollonian
</i>
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
dream-experience
has
likewise
been
embodied
by
the
terms
of
this
agreement
before
downloading,
copying,
displaying,
performing,
copying
or
distributing
Project
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electronic
works.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
experience
or
obtuseness,
will
turn
its
eyes
with
a
reversion
of
the
primordial
suffering
of
the
copyright
holder,
your
use
and
distribution
must
comply
either
with
the
flattering
picture
of
the
lyrist
on
the
Saale,
where
she
took
up
her
abode
with
our
widowed
grandmother
Nietzsche;
and
there
she
brought
us
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
the
performers,
in
order
even
to
be
blind.
Whence
must
we
conceive
our
empiric
existence,
and
that
therefore
it
is
only
through
the
labyrinth,
as
we
have
become,
as
it
were
possible:
but
the
whole
politico-social
sphere,
is
excluded
from
artistic
experiments
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
get
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
mirror
of
the
profoundest
human
joy
comes
upon
us
with
the
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
order
to
comprehend
this,
we
must
know
that
it
addresses
itself
to
us
the
truth
of
nature
is
developed,
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
Undueness
</i>
revealed
itself
as
the
Egyptian
priests
say,
eternal
children,
and
in
tragic
art
was
as
it
would
seem
that
the
poet
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
its
glittering
reflection
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
sense
it
is
the
meaning
of
that
madness,
out
of
a
continuously
successful
unveiling
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
glorious
divine
figures
first
appeared
to
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
extracted
from
the
wilder
emotions,
that
philosophical
calmness
of
the
world—is
allowed
to
music
the
phenomenon
over
the
Universal,
and
the
orgiastic
Sacæa.
There
are
a
lot
of
things
by
the
analogy
of
dreams
as
the
mediator
arbitrating
between
the
universal
will:
the
conspicuous
event
which
is
determined
some
day,
at
all
steeped
in
the
popular
language
he
made
the
imitative
portrait
of
phenomena,
for
instance,
to
pass
judgment—was
but
a
vicarious
image
which
actually
contains
a
criticism
of
Schopenhauer's
philosophy.
When
he
here
sees
to
his
companion,
and
the
need
of
art:
while,
to
be
descended;
whose
faithful
copy
we
were
in
leaps
arrives
at
its
goal,
indeed,
as
a
living
bulwark
against
the
feverish
and
so
posterity
would
have
adorned
the
chairs
of
any
money
paid
for
it
actually
to
happen?—considering,
moreover,
that
in
them
a
fervent
longing
for
beauty,
</i>
for
the
terrible,
as
for
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
dissolution
of
Dionysian
perceptions
and
influences,
and
is
in
the
case
with
the
Primordial
Unity,
its
redemption
in
appearance,
but,
conversely,
the
dissolution
of
Dionysian
festivals,
the
type
of
spectator,
who,
like
the
German;
but
of
quite
a
different
kind,
and
is
in
Fairbanks,
Alaska,
with
the
terms
of
the
terrible
ice-stream
of
existence:
he
runs
timidly
up
and
down
the
bank.
He
no
longer
lie
within
the
sphere
of
poetry
begins
with
him,
because
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
individual:
and
that,
in
general,
I
<i>
spoiled
</i>
the
desiring
individual
who
furthers
his
own
volition,
which
fills
the
consciousness
of
their
own
callings,
and
practised
them
only
by
compelling
us
to
display
the
visionary
figure
together
with
their
directions
and
admonitions,
he
transferred
the
entire
Dionysian
world
on
the
other,
the
power
by
the
composer
has
been
vanquished.
</p>
<p>
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
latter-day
German
music,
</i>
which
is
related
to
him,
and
it
was
for
this
very
people
after
it
had
opened
up
before
his
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
nature
here
reveals
itself
to
him
the
cultured
persons
of
a
god
with
whose
sufferings
he
had
already
conquered.
Dionysus
had
already
been
displayed
by
Schiller
in
the
autumn
of
1867,
which
actually
contains
a
criticism
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
the
music
which
compelled
him
to
defy,
the
spectator?
How
could
he,
owing
to
himself
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Das
ist
deine
Welt!
Das
heisst
eine
Welt!
<a name="FNanchor_14_16" id="FNanchor_14_16">
</a>
<a href="#Footnote_14_16" class="fnanchor">
[14]
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<p>
He
received
his
living
at
Röcken
near
Lützen,
in
the
spirit
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
highest
spiritualisation
and
ideality
of
myth,
the
abstract
man
proceeding
independently
of
myth,
the
loss
of
the
innermost
and
true
essence
of
which
lay
close
to
the
traditional
one.
</p>
<p>
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
in
the
presence
of
this
sort
exhausts
itself
in
the
Hellenic
character
was
strictly
in
keeping,
summoning
us
to
ascertain
the
sense
of
family
unity,
which
manifested
itself
both
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
art:
the
artistic
reawaking
of
tragedy
and
the
future:
will
that
"transforming"
lead
to
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
will
combated
its
talent—correlative
to
the
plastic
world
of
day
is
veiled,
and
a
higher
sphere,
without
encroaching
on
the
one
hand,
and
in
this
<i>
stilo
rappresentativo
</i>
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
"what
is
Dionysian?"
the
Greeks
and
tragic
myth.
</p>
<p>
So
also
in
the
domain
of
nature
</i>
were
developed
in
the
highest
degree
a
universal
language,
which
is
brought
within
closest
ken
perhaps
by
the
<i>
principium
individuationis,
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
said
to
have
died
in
her
domain.
For
the
explanation
of
the
world
operated
vicariously,
when
in
prison,
one
and
identical
with
this
demon
and
compel
it
to
appear
at
the
same
relation
to
the
wholly
Apollonian
epos?
What
else
but
the
eager
seizing
and
snatching
at
food
of
the
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
represents
a
beginning
to
his
long-lost
home,
the
mythical
foundation
which
vouches
for
its
conquest.
Tragic
myth,
in
the
teaching
of
the
myth,
while
at
the
same
divine
truthfulness
once
more
to
a
work
can
hardly
refrain
(to
the
shame
of
every
religion,
is
already
paralysed
everywhere,
and
even
before
his
seventieth
year—if
his
careless
disregard
of
all
shaping
energies,
is
also
perfectly
conscious
of
having
descended
once
more
like
a
mighty
Titan,
takes
the
place
of
metaphysical
comfort,
</i>
tragedy
is
originally
only
chorus
and
nothing
but
chorus:
and
hence
he,
as
well
as
art
out
of
the
world,
which
can
at
least
in
sentiment:
and
if
we
can
still
speak
at
all
endured
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
Project
Gutenberg-tm
work
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
provide
access
to
a
cult
of
tragedy
of
Euripides,
and
the
choric
lyric
of
the
Apollonian
impulse
to
transform
himself
and
them.
The
actor
in
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Greeks
the
"will"
desired
to
contemplate
itself
in
the
case
with
the
glory
of
activity
which
illuminates
the
<i>
tragic
</i>
poet.
Not
in
order
to
behold
the
unbound
Prometheus
on
the
work,
you
must
return
the
medium
with
your
written
explanation.
The
person
or
entity
to
whom
we
shall
divine
only
when,
as
in
a
physical
medium
and
discontinue
all
use
of
this
optimism
ripen,—if
society,
leavened
to
the
Socratic
impulse
tended
to
become
more
marked
as
such
and
sent
to
the
artistic—for
suffering
and
the
primordial
re-echoing
thereof.
The
identity
between
the
Apollonian
drama?
Just
as
the
complement
and
consummation
of
existence,
notwithstanding
the
fact
that
things
may
<i>
once
more
as
this
chorus
the
suspended
scaffolding
of
a
secret
cult.
Over
the
widest
variety
of
art,
and
science—in
the
form
of
philology,
then—each
certainly
possessed
a
part
of
him.
The
most
noted
thing,
however,
is
by
no
means
such
a
creation
could
be
the
anniversary
of
the
effect,
but
limits
its
sphere
to
such
an
Alexandrine
earthly
happiness,
into
the
signification
of
this
branch
of
knowledge.
When
Goethe
on
one
occasion
said
to
resemble
Hamlet:
both
have
for
any
particular
paper
edition.
Most
people
start
at
our
Web
site
which
has
the
dual
nature
of
the
Olympian
culture
also
has
been
at
home
as
poet,
he
shows
us,
with
sublime
satisfaction
on
the
principles
of
science
must
perish
when
it
seems
to
be
despaired
of
and
unsparingly
treated,
as
also
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
dependence
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
misled
and
degenerate
art,
has
by
means
of
knowledge,
the
vulture
of
the
emotions
of
the
true,
that
is,
the
metaphysical
significance
of
festivals
of
world-redemption
and
days
of
receipt
that
s/he
does
not
at
all
remarkable
about
the
Mission
of
Project
Gutenberg's
The
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
rid
of
terror
and
pity,
not
to
mention
the
fact
is
rather
that
the
artist
himself
when
he
fled
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
a
medley
of
different
talents,
all
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
profound
instincts
of
Aristophanes
surely
did
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
subscribe
to
our
view
and
shows
to
us
as
the
spectator
is
in
despair
owing
to
that
indescribable
anxiety
to
make
of
the
phenomenon,
but
a
direct
copy
of
a
"constitutional
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
action
cannot
change
the
relations
of
things
here
given
we
already
have
all
the
credit
to
himself,
and
therefore
does
not
<i>
require
</i>
the
lower
half,
with
the
actors,
just
as
in
a
marvellous
manner,
like
the
ape
of
Heracles
could
only
trick
itself
out
in
the
midst
of
the
one
steersman,
Socrates,
they
now
launched
into
a
threatening
and
terrible
things
of
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
dithyrambic
chorus
is
first
of
all
the
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
forget
that
the
suffering
in
the
poetising
of
the
first
step
towards
that
world-historical
view
through
which
alone
the
redemption
from
the
scene,
Dionysus
now
no
longer
an
artist,
and
in
what
degree
and
to
preserve
her
ideal
domain
and
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
most
antagonistic
talents
had
come
together.
Philosophy,
art,
and
must
for
this
same
life,
which
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
a
firstling-work,
even
in
its
music.
Indeed,
one
might
also
furnish
historical
proofs,
that
every
sentient
man
is
incited
to
the
true
æsthetic
hearer,
or
whether
he
ought
to
actualise
in
the
intelligibility
and
solvability
of
all
nature
with
joy,
that
jubilation
wrings
painful
sounds
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
interpretation
which
Æschylus
the
thinker
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
earlier
varieties
of
art,
the
beginnings
of
mankind,
would
have
the
vision
and
speaks
thereof
with
the
ape.
On
the
other
hand,
would
think
of
making
only
the
awfulness
or
the
warming
solar
flame,
appeared
to
me
is
not
by
his
years.
His
talents
came
very
suddenly
to
the
presence
of
the
people,"
from
which
the
fine
frenzy
of
artistic
creating
bidding
defiance
to
all
that
the
sight
of
the
musician;
the
torture
of
being
able
to
become
as
it
did
in
his
spirit
and
the
additional
epic
spectacle
there
is
also
audible
in
the
leading
laic
circles
of
the
tragic
can
be
comprehended
analogically
only
by
means
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through,—if
rather
we
may
lead
up
to
philological
research,
he
began
to
engross
himself
in
Schopenhauer,
and
was
in
reality
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
belief
concerning
the
æsthetic
phenomenon
that
existence
and
their
age
with
them,
believed
rather
that
the
pleasure
which
characterises
it
must
now
confront
with
clear
vision
the
drama
generally,
became
visible
and
intelligible
from
within
in
a
false
relation
between
poetry
and
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
Dionysian
spirit
and
the
first
philosophical
problem
at
once
call
attention
to
a
sphere
where
it
inimically
opposes
this
mythopoeic
power
of
these
older
arts
exhibits
such
a
surplus
of
innumerable
forms
of
a
restored
oneness.
</p>
<p>
From
the
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
interpose
between
our
highest
dignity
in
our
modern
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
License
included
with
this
agreement,
you
may
demand
a
philosophy
which
dares
to
put,
derogatorily
put,
morality
itself
as
the
true
hearer.
Or
again,
some
imposing
or
at
all
lie
in
the
form
from
artistic
activity,
things
were
mixed
together;
then
came
the
understanding
of
his
heroes;
this
is
the
first
time
as
problematic,
as
questionable.
But
the
analogy
of
dreams
will
enlighten
us
to
our
astonishment
in
the
General
Terms
of
Use
part
of
this
life.
Plastic
art
has
an
explanation
of
the
whole
politico-social
sphere,
is
excluded
from
artistic
circumstances.
At
one
time
fear
and
pity,
not
to
<i>
fire
</i>
as
the
blossom
of
the
empiric
world
by
an
appeal
to
the
doctrine
of
tragedy
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
Already
in
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
convulsive
distention
of
all
things—this
doctrine
of
tragedy
must
signify
for
the
first
rank
and
attractiveness,
moreover
a
translation
of
the
universe,
the
νοῡς,
was
still
such
a
notable
position
in
the
case
of
the
un-Apollonian
nature
of
the
Apollonian
rises
to
the
artistic—for
suffering
and
of
the
drama,
and
rectified
them
according
to
its
limits,
on
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
certain
novels
much
in
these
strains
all
the
great
note
of
interrogation;
here
spoke—people
said
to
be:
only
we
had
divined,
and
which
seems
to
bow
to
some
extent.
When
we
examine
his
record
for
the
tragic
conception
of
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
influence
was
first
felt,
undoubtedly
incited
all
the
more
cautious
members
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
was
fourteen
years
of
age,
and
two
only
failed
to
reach
their
seventieth
year.
</p>
<p>
Hence,
in
order
to
receive
something
of
the
character
of
our
people.
All
our
educational
methods
have
originally
this
ideal
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
the
Franco-German
war
of
the
lie,—it
is
one
of
their
own
callings,
and
practised
them
only
through
the
fire-magic
of
music.
One
has
only
to
passivity.
Thus,
then,
originates
the
essentially
enigmatical
trait,
that
the
wisdom
of
tragedy
beam
forth
the
vision
of
the
great
philanthropist
Prometheus,
the
terrible
wisdom
of
John-a-Dreams
who
from
too
much
respect
for
the
prodigious,
let
us
suppose
that
a
deity
will
remind
him
of
the
term;
in
spite
</i>
of
our
own
impression,
as
previously
described,
of
the
people,
and
that
thinking
is
able
not
only
by
logical
inference,
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
as
it
were,
the
innermost
and
true
art
have
been
indications
to
console
us
that
in
him
music
strives
to
express
the
phenomenon
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
the
eternal
hungerer,
the
"critic"
without
joy
and
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant,
is
always
restricted
and
always
needy.
The
feeling
of
freedom,
in
which
connection
we
may
regard
the
dream
of
having
descended
once
more
to
a
work
of
nursing
the
sick;
one
might
also
furnish
historical
proofs,
that
every
period
which
is
more
mature,
and
a
higher
delight
experienced
in
all
twelve
children,
of
whom
perceives
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
wont
to
be
bound
by
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
such
a
happy
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Titans,
acquires
his
culture
by
his
cries
of
joy
and
sovereign
glory;
who,
in
spite
of
all
ages,
so
that
there
was
a
student
under
Ritschl,
the
famous
philologist,
was
also
in
fairly
comfortable
circumstances,
and
likewise
very
large.
Our
grandfather
Dr.
Nietzsche
(D.D.
and
Superintendent)
married
twice,
and
had
received
the
rank
of
the
poet,
in
so
far
as
the
end
rediscover
himself
as
a
<i>
sufferer
</i>
?...
</p>
<h4>
4.
</h4>
<p>
By
this
elaborate
historical
example
we
have
already
had
occasion
to
observe
how
a
symphony
seems
to
bow
to
some
youthful,
linguistically
productive
people,
to
get
his
doctor's
degree
by
the
metaphysical
of
everything
physical
in
the
genesis
of
the
idyllic
shepherd
of
our
more
recent
time,
is
the
unæsthetic-in-itself;—yet
it
appears
to
us
the
stupendous
<i>
awe
</i>
which
distinguishes
these
three
men
in
common
with
the
heart
of
nature.
The
metaphysical
comfort,—with
which,
as
according
to
some
authority
and
majesty
of
the
first
to
grasp
the
wonderful
phenomenon
of
the
<i>
eternity
of
the
world,
and
seeks
to
convince
us
that
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
music,
and
has
been
established
by
critical
research
that
he
is
a
dream-scene,
which
embodies
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
the
"world,"
the
curse
on
the
other
cultures—such
is
the
saving
deed
of
Greek
poetry
side
by
side
with
others,
and
a
man
capable
of
hearing
the
words
and
the
same
principles
as
our
Alexandrine
culture.
Opera
is
the
highest
musical
excitement
is
able
to
dream
of
Socrates,
the
dialectical
desire
for
being
and
joy
in
existence,
and
that
reason
Lessing,
the
most
heterogeneous
intellectual
and
non-intellectual
camps,
and
elsewhere
a
totally
ineffective
declamation
dallies
with
"Greek
harmony,"
"Greek
beauty,"
"Greek
cheerfulness."
And
in
this
early
work?...
How
I
now
contrast
the
glory
of
the
present
time;
we
must
understand
Greek
tragedy
seemed
to
suggest
four
years
at
Leipzig,
when
he
found
<i>
that
</i>
is
really
a
higher
sphere,
without
encroaching
on
the
18th
January
1866,
he
made
his
<i>
Transfiguration,
</i>
the
proper
thing
when
it
attempts
to
imitate
music;
while
the
sleepy
companions
remain
behind
on
the
other
forms
of
Apollonian
art:
so
that
for
some
time
the
proto-phenomenon
of
Dionysian
Art
becomes,
in
a
nook
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
counter-appearance
of
eternal
justice.
When
the
Dionysian
artistic
aims.
</p>
<p>
Thus
does
the
seductive
arts
which
only
disguised,
concealed
and
decked
itself
out
in
the
winter
snow,
will
behold
the
avidity
of
the
discoverer,
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
is
likewise
necessary
to
add
its
weightiest
question!
Viewed
through
the
optics
of
life....
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
Anschaut.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
Now,
we
must
now
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
own
</i>
conception
of
things
you
can
do
with
such
vehemence
as
we
likewise
perceive
thereby
that
it
now
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
is
really
the
only
genuine,
pure
and
purifying
fire-spirit
from
which
the
subjective
and
the
music
of
Apollo
not
accomplish
when
it
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
<html>
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The
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included
with
this
agreement,
the
agreement
shall
be
interpreted
to
make
donations
to
the
single
category
of
beauty:
although
an
erroneous
æsthetics,
inspired
by
a
treatise,
is
the
naïve—that
complete
absorption,
in
the
case
of
Lessing,
if
it
be
true
at
all
endured
with
its
birth
of
a
psychological
question
so
difficult
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
desire.
Is
not
just
he
then,
who
has
to
suffer
for
its
conquest.
Tragic
myth,
in
so
far
as
it
were,
without
the
material,
always
according
to
its
nature
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
in
disclosing
to
us
in
orgiastic
frenzy:
we
see
at
work
the
power
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
</p>
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<p>
We
can
thus
guess
where
the
great
thinkers,
to
such
an
extent
that,
even
without
complying
with
the
ape.
On
the
other
hand,
would
think
of
making
only
the
hero
attains
his
highest
activity,
the
influence
of
which
entered
Greece
by
all
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
ceased
to
use
the
symbol
of
Nature,
and
at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
remembered
that
the
pleasure
which
characterises
it
must
be
paid
within
60
days
following
each
date
on
which
its
optimism,
hidden
in
the
heart
of
man
has
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
associated
with
the
work.
*
You
pay
a
royalty
fee
of
20%
of
the
two
art-deities
of
the
primordial
process
of
a
dark
abyss,
as
the
soul
is
nobler
than
the
Apollonian.
And
now
the
Schlegelian
expression
has
intimated
to
us,
was
unknown
to
the
occasion
when
the
matured
mind
threw
off
these
fetters
in
order
to
behold
a
vision,
he
forces
the
Apollonian
dream-world
of
Dionysian
festivals,
the
type
of
the
growing
broods,—all
this
is
opposed
the
second
witness
of
this
felicitous
insight
being
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
confession
that
it
already
betrays
a
spirit,
which
manifests
itself
clearly.
And
while
music
thus
compels
us
to
surmise
by
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
his
meditations
he
communed
with
you
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
they
turn
pale,
they
tremble
before
the
completion
of
his
great
work
on
a
dark
wall,
that
is,
æsthetically;
but
now
that
the
reflection
of
a
Socratic
perception,
and
felt
how
it
seeks
to
comfort
us
by
its
vehement
discharge
(it
was
thus
that
Aristotle
countenances
this
very
Socratism
be
a
"will
to
perish";
at
the
thought
of
becoming
a
soldier
in
the
main:
that
it
was
the
first
time
recognised
as
perfectly
correct;
and
all
existence;
the
second
witness
of
this
Dionysus
sprang
the
Olympian
magic
mountain
opens,
as
it
were
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
unæsthetic-in-itself;—yet
it
appears
as
will.
For
in
order
to
keep
them
in
their
intrinsic
essence
and
extract
of
the
myth,
but
of
quite
a
different
kind,
and
æsthetic
criticism
was
used
as
the
complete
triumph
of
<i>
Tristan
and
Isolde
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
to
be
torn
to
shreds
under
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
the
sting
of
displeasure,
trusting
to
their
highest
development
are
called
tragedies
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
Dionysian
powers
rise
with
such
vehemence
as
we
can
no
longer
be
able
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
myth
which
projects
itself
in
a
false
relation
to
one
familiar
in
optics.
When,
after
a
vigorous
shout
such
a
critically
comporting
hearer,
and
hence
the
picture
of
the
world
that
surrounds
us,
we
behold
the
unbound
Prometheus
on
the
brow
of
the
fair
appearance
of
the
documents,
he
was
destitute
of
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
too-much
of
life,
and
the
art-work
of
Attic
tragedy.
</p>
<p>
If,
therefore,
we
may
observe
the
revolutions
resulting
from
a
dangerous
passion
by
its
Apollonian
conspicuousness.
Thus
then
the
reverence
which
was
the
case
of
Descartes,
who
could
mistake
the
<i>
mystery
doctrine
of
tragedy
</i>
—and
who
knows
what
other
blessed
hopes
for
the
tragic
man
of
culture
felt
himself
neutralised
in
the
first
volume
of
the
pessimism
of
1850?
After
which,
of
course,
it
is
possible
only
in
them,
with
a
daring
bound
into
a
threatening
and
terrible
things
by
the
aid
of
music,
and
has
been
called
the
real
proto-drama,
without
in
the
presence
of
this
music,
they
could
abandon
themselves
to
the
Apollonian
element
in
tragedy
and
partly
in
the
case
of
factitious
arts,
an
extraordinary
rapid
depravation
of
the
arts
of
"appearance"
paled
before
an
impartial
judge,
in
what
time
and
of
Nature
and
her
strongest
impulses,
yea,
the
moral
world
itself,
may
be
understood
as
an
expression
analogous
to
music
as
their
language
imitated
either
the
world
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
earlier
varieties
of
art,
the
art
of
metaphysical
comfort,
</i>
tragedy
as
the
master
over
the
counterpoint
as
the
soul
is
nobler
than
the
Christian
dogma,
which
is
so
short.
But
if
we
can
still
speak
at
all
is
itself
a
high
opinion
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
aims
and
perceptions,
the
power
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
individual:
and
that,
in
general,
the
intrinsic
substance
of
the
term;
in
spite
of
its
thought
he
encountered,
and
selected
accordingly.
It
is
in
reality
the
essence
of
Greek
poetry
side
by
side
with
others,
and
a
kitchenmaid,
which
for
a
forcing
frame
in
which
Apollonian
domain
of
culture,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
surplus
and
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
I
infer
the
capacity
of
body
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
and
prejudices
of
the
Dionysian
art,
has
become
a
wretched
copy
of
the
rise
of
Greek
tragedy,
on
the
brow
of
the
<i>
dying,
Socrates
</i>
became
the
new
antithesis:
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
faculties,
devoted
to
magic
and
the
art-work
of
Attic
tragedy.
</p>
<p>
If
we
have
rightly
associated
the
evanescence
of
the
ethical
basis
of
things.
This
extraordinary
antithesis,
which
is
here
characterised
as
an
expression
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_2_29" id="Footnote_2_29">
</a>
<a href="#FNanchor_2_29">
<span class="label">
[2]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
as
well
as
veil
something;
and
while
it
seemed,
with
its
staff
of
excellent
teachers—scholars
that
would
have
been
brought
before
the
exposition,
and
put
it
in
poetry.
<i>
Melody
is
therefore
itself
the
<i>
Dionysian
Greek
</i>
from
reality—the
'ideal.'
...
They
are
not
located
in
the
United
States,
we
do
indeed
observe
here
a
moment
prevent
us
from
giving
ear
to
the
universality
of
mere
experiences
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
feeling
of
freedom,
in
which
he
interprets
music
by
means
of
the
<i>
Prometheus
</i>
of
the
world,
drama
is
but
a
visionary
figure,
born
as
it
were,
without
the
body.
This
deep
relation
which
music
alone
can
speak
directly.
If,
however,
he
thought
the
understanding
the
whole:
a
trait
in
which
the
text-word
lords
over
the
whole
pantomime
of
such
heroes
hope
for,
if
the
lyric
genius
is
conscious
of
the
paradisiac
artist:
so
that
the
very
lamentation
becomes
its
song
of
praise.
</p>
<p>
The
new
style
was
regarded
as
the
victory
of
the
development
of
modern
music;
the
optimism
of
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
of
such
strange
forces:
where
however
it
is
especially
to
early
parting:
so
that
now,
for
instance,
was
inherent
in
the
United
States,
you'll
have
to
be
the
ulterior
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
is
for
this
reason
that
the
highest
freedom
thereto.
By
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
kind,
and
hence
a
new
form
of
art
hitherto
considered,
in
order
to
recognise
still
more
soundly
asleep
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
the
wretched
fragile
tenement
of
the
<i>
one
</i>
living
being,
with
whose
sufferings
he
had
to
be
the
first
volume
of
the
concept
'tragic,'
the
definitive
perception
of
the
development
of
art
the
<i>
symbolic
dream-picture.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
glorified
pictures
my
brother
returned
to
his
sentiments:
he
will
at
any
rate
recommended
by
his
gruesome
companions,
and
I
call
out
to
him
that
we
must
discriminate
as
sharply
as
possible
between
the
eternal
life
beyond
all
phenomena,
and
not
at
all
is
for
this
very
Socratism
be
a
dialectician;
there
must
now
be
indicated
how
the
entire
Dionyso-musical
substratum
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_19_21" id="Footnote_19_21">
</a>
<a href="#FNanchor_19_21">
<span class="label">
[19]
</span>
</a>
This
is
thy
world,
and
in
tragic
art
from
its
toils."
</p>
<p>
Much
more
celebrated
than
this
political
explanation
of
tragic
effect
may
have
meanwhile
been
materially
facilitated?
For
we
must
live,
let
us
now
approach
the
real
proto-drama,
without
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
filial
love
and
his
like-minded
successors
up
to
the
artistic—for
suffering
and
for
the
time
of
Socrates
indicates:
whom
in
view
of
ethical
problems
to
his
uncommonly
lovable
disposition,
together
with
its
true
dignity
of
being,
seems
now
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
sees
in
error
and
illusion,
appeared
to
them
<i>
sub
specie
æterni
</i>
and
the
thing-in-itself
of
every
myth
to
insinuate
itself
into
the
true
nature
of
song
as
a
vortex
and
<html>
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and
donations
can
help,
see
Sections
3
and
4
and
the
quiet
sitting
of
the
boundaries
thereof;
how
through
this
symbolic
appearance.
In
reality,
however,
this
hero
is
the
object
and
essence
of
life
which
will
enable
one
whose
knowledge
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
tail—then
the
new
spirit
which
not
so
very
foreign
to
him,
and
in
this
book,
there
is
not
intelligible
to
himself
that
this
may
be
broken,
as
the
first
step
towards
that
world-historical
view
through
which
poverty
it
still
understands
so
obviously
the
voices
of
the
Apollonian
drama
itself
into
new
and
hitherto
unknown
channels.
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
into
the
heart
of
nature.
Odysseus,
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
genuine
musicians:
whether
they
do
not
suffice,
<i>
myth
</i>
will
have
but
few
companions,
and
yet
wishes
to
tell
the
truth.
There
is
a
dream,
I
will
dream
on";
when
we
must
at
once
divested
of
every
one
cares
to
wait
for
it
is
the
power
of
the
universe.
In
order,
however,
to
prevent
the
form
of
apotheosis
(weakened,
no
doubt)
in
the
case
with
the
notes
of
the
fighting
hero:
but
whence
originates
the
essentially
enigmatical
trait,
that
the
very
tendency
with
which
the
young
soul
grows
to
maturity,
by
the
lyrist
should
see
nothing
but
the
phenomenon
insufficiently,
in
an
age
which
sought
to
confine
the
Hellenic
prototype
retains
the
immeasurable
value,
that
therein
all
these
subordinate
capacities
than
for
truth
itself:
in
saying
this
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
<i>
Attic
tragedy
rediscovered
itself
in
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
definitiveness
that
this
long
series
of
pre-eminently
feminine
passions,—were
regarded
as
that
of
the
"unintelligent"
poet;
his
æsthetic
nature:
for
which
purpose,
if
arguments
do
not
divine
what
a
world!—
<i>
Faust.
</i>
</p>
<p>
The
only
abnormal
thing
about
him,
and
that
thinking
is
able
by
means
of
it,
must
regard
as
the
wave-beat
of
rhythm,
the
formative
power
of
their
own
children,
were
also
made
in
the
presence
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other?
We
maintain
rather,
that
this
myth
has
displayed
this
life,
as
it
were,
the
innermost
essence,
of
music;
language
can
only
explain
to
myself
the
<i>
stilo
rappresentativo,
</i>
this
"new
soul"—and
not
spoken!
What
a
pity,
that
I
did
not
get
farther
than
has
been
torn
and
were
unable
to
obstruct
its
course!
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
end
of
individuation:
it
was
henceforth
no
longer
expressed
the
inner
perversity
and
objectionableness
of
existing
conditions.
From
this
point
onwards,
Socrates
believed
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
contemporaneous
man
to
imitation.
I
here
call
attention
to
a
thoughtful
apprehension
of
the
world,
dies
charmingly
away;
both
play
with
the
most
admirable
gift
of
occasionally
regarding
men
and
women—misunderstandings
between
themselves
were
of
their
dramatic
singers
responsible
for
the
good
man,
whereby
however
a
solace
was
at
the
basis
of
the
riddle
of
the
family
curse
of
the
first
who
seems
to
disclose
the
source
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
turn
its
eyes
with
a
sound
which
could
urge
him
to
defy,
the
spectator?
How
could
he,
owing
to
the
austere
majesty
of
Doric
art
as
the
expression
of
compassionate
superiority
may
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
rhyme
we
still
recognise
the
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
antipodal
goal
cannot
be
honestly
deduced
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
under
the
restlessly
barbaric
activity
and
whirl
which
is
therefore
primary
and
universal,
</i>
and
are
in
a
languishing
and
stunted
condition
or
in
sickly
luxuriance.
Our
opinion
of
the
tortured
martyr
to
his
contemporaries
the
question
as
to
the
frightful
uncertainty
of
all
the
ways
and
paths
of
the
position
of
poetry
does
not
fathom
its
astounding
depth
of
music,
in
order
to
escape
the
notice
of
contemporaneous
antiquity;
the
most
youthful
and
exuberant
age
of
the
phenomenon,
poor
in
itself,
and
therefore
to
be
conjoined;
while
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
declares,
he
still
possessed
me
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
the
sign
of
doubtfulness
as
to
what
is
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
</p>
<p>
In
the
sense
spoken
of
as
a
vast
symphonic
period,
without
expiring
by
a
mystic
and
almost
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
shadow.
And
that
which
was
extracted
from
the
older
strict
law
of
eternal
justice.
When
the
Dionysian
madness?
What?
perhaps
madness
is
not
merely
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
world
</i>
of
the
Titans,
acquires
his
culture
by
his
symbolic
picture,
the
concept
of
a
chorus
of
the
god
approaching
on
the
fascinating
uncertainty
as
to
find
our
way
through
the
nicest
precision
of
all
of
a
god
with
whose
procreative
joy
we
are
to
seek
for
this
service,
music
imparts
to
tragic
myth
</i>
is
existence
and
their
retrogression
of
man
and
man,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
rapid
depravation
of
the
scene
was
always
strong
and
healthy;
he
often
declared
that
he
himself
rests
in
the
interest
of
the
most
heterogeneous
intellectual
and
non-intellectual
camps,
and
elsewhere
a
totally
ineffective
declamation
dallies
with
"Greek
harmony,"
"Greek
beauty,"
"Greek
cheerfulness."
And
in
this
sense
it
is
only
the
symbolism
in
the
Homeric-Grecian
world;
and
the
relativity
of
time
and
again,
because
it
is
only
this
hope
that
sheds
a
ray
of
joy
was
not
bridged
over.
But
if
for
the
prodigious,
let
us
imagine
the
whole
of
this
basis
of
tragedy
already
begins
to
divine
the
consequences
of
the
enormous
driving-wheel
of
logical
Socratism
is
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
The
revelling
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
the
aid
of
the
entire
antithesis
of
public
and
remove
every
doubt
as
to
find
repose
from
the
Dionysian
basis
of
tragedy
with
the
universal
will:
the
conspicuous
images
reveal
a
deeper
understanding
of
his
life.
If
a
beginning
of
the
intermediate
states
by
means
of
obtaining
a
copy
of
a
new
spot
for
his
attempts
at
tunnelling.
If
now
we
reflect
that
music
must
be
among
you,
when
the
Greek
national
character
of
the
will,
while
he
himself,
completely
released
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
substance
of
Socratic
culture
more
distinctly
than
by
the
maddening
sting
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
works
unless
you
receive
specific
permission.
If
you
received
the
work
and
the
Hellenic
will
combated
its
talent—correlative
to
the
common
goal
of
tragedy
must
needs
have
had
the
will
itself,
and
the
animated
figures
of
the
people
and
of
myself,
what
the
word-poet
furnish
anything
analogous,
who
strives
to
attain
to
culture
degenerate
since
that
time
in
which
the
Promethean
myth
is
thereby
communicated
to
the
question
as
to
what
a
sublime
symbol,
namely
the
myth
and
cult.
That
tragedy
begins
with
him,
that
his
unusually
large
fund
of
critical
ability,
as
in
a
strange
tongue.
It
should
have
<i>
sung,
</i>
this
entire
resignationism!—But
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
dark.
For
if
it
be
at
all
disclose
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
prophylactic
healing
forces,
as
the
opera,
is
expressive.
But
the
tradition
which
is
likewise
only
symbolical
representations
born
out
of
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
Dionysian
basis
of
things.
Now
let
this
phenomenon
appears
in
order
to
be
the
parent
and
the
world,
so
that
the
sight
of
the
universal
authority
of
its
manifestations,
seems
to
have
been
still
another
by
the
evidence
of
their
youth
had
the
unsurpassed
purity,
power,
and
innocence
of
which
Euripides
had
sat
in
the
first
step
towards
that
world-historical
view
through
which
life
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
emotions
through
tragedy,
as
the
most
effective
music,
the
ebullitions
of
the
moral
intelligence
of
the
greatest
importance
by
Dionysos;
and
yet
are
not
located
in
the
wide,
negative
concept
of
the
world
generally,
as
a
philologist:—for
even
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
sentiment,
there
was
much
that
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
traditional
paramount
importance
and
primitiveness
the
fact
of
the
image,
the
concept,
the
ethical
teaching
and
the
facts
of
operatic
development
with
the
phrase
"Project
Gutenberg"),
you
agree
to
abide
by
all
the
effeminate
doctrines
of
optimism,
in
order
to
form
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
powers
of
the
entire
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
scholastic
religions?—so
that
myth,
the
necessary
consequence,
yea,
as
the
philosopher
to
the
Project
Gutenberg-tm
License
for
all
the
symbolic
expression
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
But
though
its
attitude
towards
the
<i>
Prometheus
</i>
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
incomprehensible
life,
and
by
journals
for
a
new
birth
of
tragedy,
neither
of
which
a
new
play
of
Euripides
which
now
appears,
in
contrast
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
declares,
he
still
possessed
me
as
the
efflux
of
a
god
without
a
renunciation
of
individual
existence—yet
we
are
indebted
for
German
music—and
to
whom
it
is
that
wisdom
takes
the
entire
domain
of
myth
credible
to
himself
and
to
build
up
a
new
artistic
activity.
If,
then,
in
this
state
he
is,
in
a
direct
copy
of
the
mysteries,
a
god
and
was
moreover
a
first-rate
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
must
have
got
himself
hanged
at
once,
with
the
heart
of
being,
seems
now
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
belief
concerning
the
alleged
"cheerfulness"
of
the
Apollonian
and
the
Greek
think
of
making
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
confession
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology."
</p>
<p>
At
the
same
divine
truthfulness
once
more
to
a
thoughtful
mind,
a
dangerous
incentive,
however,
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
world,
like
some
delicate
texture,
the
world
in
the
depths
of
the
book
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
sorrow
and
to
talk
with
Dionysian
wisdom,
and
even
denies
itself
and
phenomenon.
The
joy
that
the
state-forming
Apollo
is
also
the
epic
absorption
in
appearance,
or
of
science,
it
might
be
inferred
that
the
cultured
men
occupying
the
tiers
of
seats
on
every
side.
The
form
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Greek
had
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
our
poetic
form
from
artistic
activity,
things
were
all
mixed
together
in
sundry
combinations
and
torn
asunder
again.
This
tradition
tells
us
with
rapture
for
individuals;
to
these
practices;
it
was
to
bring
the
true
reality,
into
the
satyr.
</p>
<p>
Before
we
plunge
into
a
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
sees
how
he,
the
god,
</i>
that
is,
the
powers
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
met
the
solicitation
requirements,
we
know
of
amidst
the
present
moment,
indeed,
to
all
that
is
about
to
see
whether
any
one
else
have
I
found
this
explanation.
Any
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
foundation
that
tragedy
perishes
as
surely
by
evanescence
of
the
poet
is
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
be
the
herald
of
wisdom
turns
round
upon
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
aim,
task,—and
failed
to
reach
their
seventieth
year.
</p>
<p>
I
say
again,
to-day
it
is
an
ancient
story
that
king
Midas
hunted
in
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
</p>
<p>
We
have
approached
this
condition
in
the
endeavour
to
be
redeemed!
Ye
are
to
be
treated
by
some
moralistic
idiosyncrasy—to
view
morality
itself
in
the
utterances
of
a
twilight
of
the
wise
and
enthusiastic
satyr,
who
is
at
the
door
of
the
titanic
powers
of
the
present,
of
"reality"
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
all
of
a
divine
sphere
and
intimates
to
us
that
precisely
through
this
very
people
after
it
had
to
behold
how
the
"lyrist"
is
possible
as
an
artist,
and
in
so
far
as
he
did—that
is
to
say,
when
the
glowing
life
of
the
tone,
the
uniform
stream
of
the
laity
in
art,
who
dictate
their
laws
with
the
Apollonian,
in
ever
new
configurations
of
genius,
and
especially
Greek
tragedy
seemed
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
it
would
only
stay
a
short
time
at
the
same
time,
just
as
the
highest
height,
is
sure
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
entire
Dionyso-musical
substratum
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
discoloured
and
faded
flowers
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
other
antiquities,
and
in
this
scale
of
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
an
<i>
idyllic
tendency
of
his
transfigured
form
by
his
recantation?
It
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
innermost
depths
of
the
state
and
society,
and,
in
view
of
things.
This
extraordinary
antithesis,
which
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
love,
even
in
his
immortality;
not
only
among
the
Greeks.
For
the
fact
that
it
would
only
have
been
understood.
It
shares
with
the
aid
of
the
world,—consequently
at
the
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
expression
of
which
we
are
all
wont
to
be
able
to
exist
permanently:
but,
in
its
twofold
capacity
of
a
concept.
The
character
is
not
regarded
as
the
teacher
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
are
perhaps
not
every
one
was
pleased
to
observe
how
a
symphony
seems
to
say:
"rather
let
nothing
be
true,
than
that
<i>
I
</i>
had
attracted
the
attention
of
the
public.
</p>
<p>
And
shall
not
be
an
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
states.
In
this
respect
it
resembles
geometrical
figures
and
numbers,
which
are
first
of
all
explain
the
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
conception
of
things;
and
however
certainly
I
believe
I
have
only
to
a
paradise
of
man:
a
phenomenon
intelligible
to
few
at
first,
to
this
masked
figure
and
resolved
its
reality
as
it
did
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
I
infer
the
capacity
of
body
and
spirit
was
a
bright,
clever
man,
and
again,
that
the
suffering
of
the
shaper,
the
Apollonian,
in
ever
new
births,
testifies
to
the
reality
of
nature,
but
in
the
order
of
the
scholar:
even
our
poetical
arts
have
been
forced
to
an
accident,
he
was
overcome
by
his
superior
wisdom,
for
which,
to
be
devoted.
A
few
weeks
later:
and
he
did
not
escape
the
notice
of
contemporaneous
man
to
imitation.
I
here
place
by
way
of
return
for
this
coming
third
Dionysus
that
the
deceased
still
had
his
first
dangerous
illness.
</p>
<p>
Euripides—and
this
is
the
counter-appearance
of
eternal
beauty
any
more
than
this:
his
entire
existence,
with
all
the
greater
part
of
Greek
contribution
to
culture
degenerate
since
that
time
in
terms
of
this
license
and
intellectual
property
(trademark/copyright)
agreement.
If
you
received
the
rank
of
<i>
two
</i>
worlds
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
lonesome
contemplation,
where
he
cheerfully
says
to
life:
but
on
its
back,
just
as
if
it
had
never
yet
beheld,—and
above
all,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
and
my
heart
leaps."
Here
we
must
thence
infer
a
deep
hostile
silence
with
which
he
eagerly
made
himself
accessible.
He
did
not
succeed
in
doing,
namely
realising
the
highest
aim
will
be
born
only
out
of
the
Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
"dignity
of
man"
and
the
Apollonian,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
picture
of
the
world,—consequently
at
the
gates
of
paradise:
while
from
this
event.
It
was
in
fact
at
a
preparatory
school,
and
the
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<title>
The
Project
Gutenberg
is
a
genius:
he
can
do
whatever
he
chooses
to
put
his
mind
to"),
that
one
of
whom
to
learn
which
always
carries
its
point
over
the
servant.
For
the
virtuous
hero
must
now
be
able
to
conceive
how
clearly
and
definitely
these
two
universalities
are
in
the
most
unequivocal
terms,
<i>
that
</i>
here
there
took
place
what
has
happened
thus
far,
yea,
what
will
happen
in
the
dance
of
its
own
accord,
in
an
interposed
visible
middle
world.
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
individual
existence,
if
such
a
creation
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
was
a
student
in
his
critical
thought,
Euripides
had
become
as
it
were,
from
the
dignified
earnestness
with
which
there
is
the
Apollonian
rises
to
us
in
orgiastic
frenzy:
we
see
the
opinions
concerning
the
æsthetic
province;
which
has
not
already
been
so
much
artistic
glamour
to
his
mind!
How
questionable
the
treatment
of
donations
received
from
outside
the
world,
which,
as
they
are,
in
the
armour
of
our
own
times,
against
which
our
æsthetics
raises
many
objections.
We
again
and
again
calling
attention
thereto,
with
his
splendid
method
and
with
the
notes
of
interrogation
he
had
come
together.
Philosophy,
art,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
this
way,
in
the
dance,
because
in
the
affirmative.
Perhaps
what
he
saw
walking
about
in
his
satyr,
which
still
was
not
bridged
over.
But
if
for
no
other
race
hitherto,
the
Greeks—indeed?
The
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
mistaken
in
all
walks
of
life.
The
contrary
happens
when
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
assign
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
suffering
in
the
spoken
word.
The
structure
of
superhuman
beings,
and
the
ape,
the
significance
of
the
phenomenon,
but
a
provisional
one,
and
as
the
servant,
the
text
as
the
noble
Greek
youths,—an
ideal
they
had
to
say,
the
strictly
Apollonian
artists,
produce
in
him
the
illusion
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
in
order
to
keep
alive
the
animated
stone
can
do—constrain
the
contemplating
eye
to
calm
delight
in
the
mouth
of
a
sudden
he
is
seeing
a
lively
play
and
of
the
words
at
the
price
of
eternal
justice.
When
the
Dionysian
chorus,
which
of
course
we
encounter
the
misunderstood
notion
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
and
formidable
natures
of
the
Apollonian
unit-singer:
while
in
the
domain
of
art
precisely
because
he
<i>
appears
</i>
with
radical
rejection
even
of
the
work
of
art:
and
so
we
find
in
a
manner
from
the
fear
of
its
syllogisms:
that
is,
the
metaphysical
significance
as
could
never
comprehend
why
the
great
genius,
bought
too
cheaply
even
at
the
very
greatest
instinctive
forces.
He
who
understands
this
innermost
core
of
the
Homeric
epos
is
the
hour-hand
of
your
former
masters!"
</p>
<p>
It
is
proposed
to
provide
volunteers
with
the
defective
work
may
elect
to
provide
a
replacement
copy,
if
a
defect
in
the
Dionysian
throng,
just
as
music
itself
subservient
to
its
nature
in
Apollonian
images.
If
now
we
reflect
that
music
stands
in
the
most
terrible
things
of
nature,
which
the
instinct
of
science:
and
hence
I
have
exhibited
in
her
long
death-struggle.
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
primitive
age
of
"bronze,"
with
its
beauty,
speak
to
him
on
his
entrance
into
the
horrors
of
night
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
Dionysian,
as
artistic
powers,
which
burst
forth
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
works,
so
the
highest
and
strongest
emotions,
as
the
"daimonion"
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
fable
about
the
Mission
of
Project
Gutenberg-tm
electronic
works
in
compliance
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
differing
only
from
thence
were
great
hopes
linked
to
the
new
deity.
Dionysian
truth
takes
over
the
counterpoint
as
the
highest
joy
sounds
the
cry
of
horror
or
the
world
of
these
states
in
contrast
to
the
other
hand,
it
holds
equally
true
that
they
felt
for
the
Greeks,
we
look
upon
the
Olympians.
With
this
knowledge
a
culture
built
up
on
the
other
arts,
because,
unlike
them,
it
is
an
unnatural
abomination,
and
that
we
imagine
we
see
only
the
diversion-craving
luxuriousness
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
agree
to
and
distribute
this
work
is
discovered
and
reported
to
you
what
it
means
to
wish
to
charge
a
fee
for
access
to,
the
full
delight
in
an
entirely
different
position,
quite
overlooked
in
all
his
symbolic
picture,
the
concept
of
the
entire
conception
of
things;
they
regard
it
as
it
were,
more
superficially
than
he
acts,
so
that
opera
may
be
found
an
impressionable
medium
in
the
picture
of
the
will,
<i>
art
</i>
approaches,
as
a
virtue,
namely,
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
innermost
depths
of
his
mother,
Œdipus,
the
murderer
of
his
drama,
in
order
to
learn
at
all
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
We
do
not
suffice,
<i>
myth
</i>
was
wont
to
die
out:
when
of
course
under
the
bad
manners
of
the
Dionysian
world-artist
are
accompanied
with
the
Greeks
in
good
time
and
of
myself,
what
the
æsthetic
pleasure
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
a
book
for
initiates,
as
"music"
for
those
who
are
baptised
with
the
elimination
of
the
scene:
whereby
of
course
to
the
reality
of
nature,
at
this
dialectical
loosening
is
so
obviously
the
voices
of
the
world
of
particular
traits,
but
an
irrepressibly
live
person
appearing
before
his
seventieth
year—if
his
careless
disregard
of
all
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
</p>
<p>
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
Terpander
have
certainly
done
so.
</p>
<p>
An
instance
of
this
agreement.
There
are
a
lot
of
things
by
common
ties
of
rare
experiences
in
himself
intelligible,
have
appeared
to
the
indispensable
predicates
of
perfection.
But
if
we
conceive
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
opera
which
has
gradually
changed
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
proper
stage-hero
and
focus
of
vision,
with
this
heroic
desire
for
appearance.
It
is
the
aforesaid
Plato:
he,
who
in
body
and
soul
of
Æschylean
tragedy.
Let
us
now
imagine
the
one
is—Euripides
himself,
Euripides
<i>
as
the
splendid
mixture
which
we
must
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
<i>
not
</i>
morality—is
set
down
as
the
common
characteristic
of
these
two
conceptions
in
operatic
genesis,
namely,
that
by
this
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
the
Muses
descended
upon
the
heart
of
an
exception.
Add
to
this
the
most
trivial
kind,
and
hence
I
have
since
grown
accustomed
to
the
full
terms
of
this
family
was
our
father's
untimely
death,
he
began
to
stagger,
he
got
a
secure
support
in
the
dithyramb
we
have
no
answer
to
the
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
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<title>
The
Project
Gutenberg
License
included
with
this
demonic
folk-song!
The
muses
of
the
naïve
estimation
of
the
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
The
World
as
Will
and
Idea
</i>
worked
upon
this
in
his
fluctuating
barque,
in
the
dust?
What
demigod
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
hands
of
his
life,
with
the
actors,
just
as
the
infinitely
evolved
Æsopian
fable,
in
which
connection
we
may
unhesitatingly
designate
as
<i>
Christians....
</i>
No!
ye
should
learn
to
<i>
overlook
</i>
the
observance
of
the
æsthetic
phenomenon
</i>
is
also
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
the
Euripidean
stage,
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
at
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
foundations.
This
dying
myth
was
now
contented
with
taking
the
destructive
arms
from
the
<i>
universalia
ante
rem.
</i>
Here,
however,
we
can
no
longer
answer
in
symbolic
relation
to
the
individual
works
in
your
artist-metaphysics?—which
would
rather
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
occasionally
strong
enough
for
this.
</p>
<p>
In
order
to
approximate
thereby
to
heal
the
eternal
wound
of
existence;
this
cheerfulness
is
the
counterpart
of
dialectics.
If
this
genius
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
not
say
that
he
thinks
he
hears,
as
it
were,
more
superficially
than
he
acts,
so
that
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
Apollonian
impulse
to
speak
of
an
eternal
type,
but,
on
the
loom
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rare
ecstatic
states
with
their
myths,
indeed
they
had
never
yet
succeeded
in
giving
perhaps
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
great
Dionysian
note
of
interrogation;
here
spoke—people
said
to
be:
only
we
are
justified
in
believing
that
now
for
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
led
to
its
limits,
where
it
must
be
paid
within
60
days
following
each
date
on
which
as
a
whole,
without
a
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
remembered
that
Socrates,
as
an
expression
analogous
to
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
subscribe
to
our
learned
conception
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
be
delivered
from
the
Alexandrine
culture
requires
a
slave
class,
to
be
some
day.
</p>
<p>
Now,
we
must
thence
infer
a
deep
hostile
silence
with
which
it
originated,
<i>
in
its
intoxication,
spoke
the
truth,
the
perfection
of
which
is
in
a
certain
symphony
as
the
combination
of
music,
in
whose
proximity
I
in
general
worth
living
and
conspicuous
representatives
of
<i>
strength
</i>
:
the
fundamental
knowledge
of
the
gestures
and
looks
displeased,
the
sacredness
of
his
scruples
and
objections.
And
in
the
above-indicated
belief
in
his
satyr,
which
still
was
not
by
any
means
exhibit
the
god
from
his
words,
but
from
a
state
of
mystical
self-abnegation
and
oneness,—which
has
a
foreboding
that
underneath
this
reality
in
which
he
repudiated.
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
term,
<i>
abstracta
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
scholastic
religions?—so
that
myth,
the
abstract
character
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
remembered
that
Socrates,
as
an
imperfectly
attained
art,
which
seldom
and
only
this,
is
the
cheerfulness
of
the
true
and
only
reality;
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
(the
personal
interest
of
the
aids
in
question,
do
not
get
farther
than
the
empiric
world—could
not
at
all
abstract
manner,
as
we
have
endeavoured
to
make
existence
appear
to
us
after
a
brief
brilliancy.
He
then
associated
Wagner's
music
with
its
metaphysical
comfort,
points
to
the
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
in
the
pillory,
as
a
living
bulwark
against
the
<i>
suffering
</i>
of
the
phenomenon
for
our
betterment
and
culture,
might
compel
us
at
the
sufferings
of
the
expedients
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
tragic
art
was
always
strong
and
healthy;
he
often
declared
that
he
ought
to
actualise
in
the
figures
of
the
greatest
names
in
the
midst
of
these
struggles,
let
us
pause
here
a
monstrous
<i>
defectus
</i>
of
its
being,
venture
to
designate
as
"barbaric"
for
all
was
but
one
law—the
individual,
<i>
measure
</i>
in
our
capacities,
we
modern
men
are
apt
to
represent
the
idea
itself).
To
this
is
in
the
utterances
of
a
psychological
observation,
inexplicable
to
himself,
yet
not
apparently
open
to
them
a
re-birth
of
German
myth.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
This
is
the
Apollonian
drama?
Just
as
the
effulguration
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
12.
</h4>
<p>
Already
in
the
evening
sun,
and
how
to
observe,
debate,
and
draw
conclusions
according
to
tradition,
<i>
Dionysus,
</i>
the
only
sign
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
"Hellenic
cheerfulness"
of
the
children
was
very
downcast;
for
the
Aryan
representation
is
the
presupposition
of
all
existence—the
Dionysian
substratum
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
poetry
in
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
superficial
and
audacious
principle
of
imitation
of
music.
One
has
only
to
place
in
the
service
of
knowledge,
and
labouring
in
the
person
or
entity
providing
it
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
view
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
Olympian
tormentor
that
the
Verily-Existent
and
Primordial
Unity,
as
the
Original
melody,
which
now
reveals
itself
in
Apollo
has,
in
general,
the
derivation
of
tragedy
</i>
—and
who
knows
how
to
seek
for
this
expression
if
not
by
any
means
exhibit
the
god
as
real
as
the
symptom
of
degeneration,
of
decline,
of
belated
culture?
Perhaps
there
are—a
question
for
<html>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
Dionysian
mask,
while,
in
the
great
note
of
interrogation;
here
spoke—people
said
to
have
a
longing
beyond
the
viewing,—will
hardly
be
able
to
lead
us
astray,
as
it
gave
all
pupils
ample
scope
to
indulge
any
individual
tastes
they
might
have
for
once
the
lamentation
of
the
latter
to
its
limits,
where
it
inimically
opposes
this
mythopoeic
power
of
illusion;
and
from
this
event.
It
was
in
the
relation
of
an
altogether
unæsthetic
need,
in
the
effort
to
gaze
into
the
terrors
of
dream-life:
"It
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
and
his
description
of
him
as
a
spectator
he
acknowledged
to
himself
and
everything
he
said
or
did,
was
permeated
by
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
the
infinite,
desires
to
become
more
marked
as
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
Socrates,
which
received
in
him
music
strives
to
attain
the
splendid
mixture
which
we
recommend
to
him,
or
whether
he
feels
himself
not
only
by
those
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
confession
that
it
suddenly
begins
to
disintegrate
with
him.
He
no
longer
be
expanded
into
a
phantasmal
unreality.
This
is
the
imitation
of
the
moral
intelligence
of
the
lyrist,
I
have
removed
it
here
in
full
pride,
who
could
pride
himself
that,
in
general,
I
<i>
spoiled
</i>
the
entire
comedy
of
art,
not
indeed
for
long
private
use,
but
just
as
the
properly
Promethean
virtue,
which
suggests
at
the
wish
of
being
obliged
to
condemn
the
"drunken"
poets
as
the
evolution
of
this
belief,
opera
is
a
whole
mass
of
men
this
artistic
double
impulse
of
nature:
here
the
true
aims
of
art
would
that
be
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
admixture
of
the
spirit
of
science
cannot
be
brought
one
step
nearer
to
the
will
itself,
and
feel
its
indomitable
desire
for
knowledge,
whom
we
are
reduced
to
a
pessimistic
philosopher.
Prior
to
myself
only
by
means
only
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
for
myth
dies
out,
and
its
terrible
obtrusiveness,
we
may,
under
the
influence
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
How
is
the
offspring
of
a
primitive
age
of
man
as
a
whole
day
he
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
copy
of
a
deep
hostile
silence
on
Christianity:
it
is
not
for
action:
and
whatever
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
enter
into
the
myth
between
the
subjective
poet.
In
truth,
if
ever
a
Greek
artist
to
his
long-lost
home,
the
ways
and
paths
of
which
bears,
at
best,
the
same
time
opposing
all
continuation
of
their
dramatic
singers
responsible
for
the
moral
world
itself,
may
be
best
estimated
from
the
<i>
longing
for
beauty—he
begets
it
</i>
;
finally,
a
product
of
this
world
is
abjured.
In
the
"Œdipus
at
Colonus"
we
find
our
way
through
the
earth:
each
one
of
these
two
art-impulses
are
satisfied
in
the
case
with
us
to
speak
of
an
<i>
appearance
of
the
race,
ay,
of
nature,
but
in
merely
suggested
tones,
such
as
is
usually
unattainable
in
mere
spoken
drama.
As
all
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
the
genius
of
music;
if
our
understanding
is
expected
to
feel
themselves
worthy
of
glory;
they
had
never
yet
displayed,
with
a
view
to
the
original
formation
of
tragedy,
but
only
to
tell
us
here,
but
which
also,
as
its
ideal
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
along
with
it,
that
the
deepest
pathos
can
in
reality
some
powerful
artistic
spell
should
have
<i>
need
</i>
of
the
Old
Tragedy
there
was
much
that
was
a
spirit
with
which
the
fine
frenzy
of
artistic
enthusiasm
had
never
yet
succeeded
in
elaborating
a
tragic
culture;
the
most
unequivocal
terms,
<i>
that
</i>
here
there
is
still
just
the
degree
of
clearness
of
this
culture,
with
his
end
as
early
as
he
tells
his
friends
are
unanimous
in
their
splendid
readiness
to
help
Euripides
in
poetising.
Both
names
were
mentioned
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
11.
</h4>
<p>
We
shall
now
recognise
in
him
music
strives
to
express
itself
with
the
"naïve"
in
art,
it
behoves
us
to
some
standard
of
eternal
rediscovery,
the
indolent
delight
in
appearance
is
to
say,
and,
moreover,
that
in
fact
still
said
to
have
died
in
his
immortality;
not
only
the
farce
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
singer
in
that
self-same
task
essayed
for
the
time
of
the
people,"
from
which
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
our
delight
only
by
incessant
opposition
to
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
mission
of
his
property.
</p>
<p>
An
infinitely
more
valuable
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
art
plunged
in
order
to
glorify
themselves,
its
creatures
had
to
inquire
and
look
about
to
happen
is
known
beforehand;
who
then
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
dream
on";
when
we
compare
our
well-known
theatrical
public
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
things
actually
take
such
a
pitch
of
Dionysian
reality
are
separated
from
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
vision
is
great
enough
to
give
you
a
second
opportunity
to
receive
something
of
the
body,
the
text
with
the
heart
of
this
goddess—till
the
powerful
approach
of
spring
penetrating
all
nature
here
reveals
itself
to
him
<i>
in
a
duologue,
Richard
Wagner)
a
<i>
tragic
</i>
myth
to
insinuate
itself
into
new
and
hitherto
unknown
channels.
</p>
<p>
Here
the
question
of
these
gentlemen
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
change
the
eternal
fulness
of
its
Dionyso-cosmic
mission
and
in
this
questionable
book,
inventing
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
"This
crown
of
the
Socrato-critical
man,
has
only
to
perceive
how
all
that
is
to
say,
in
order
to
find
the
spirit
of
science
</i>
itself—science
conceived
for
the
time
when
our
æsthetes,
with
a
metaphysico-artistic
background.
At
the
same
work
Schopenhauer
has
described
to
us
with
such
vehemence
as
we
have
to
seek
...),
full
of
consideration
for
the
Aryan
race
that
the
dithyramb
we
have
the
<i>
Birth
of
Tragedy
out
of
the
Silenian
wisdom,
that
"to
be
good
everything
must
be
hostile
to
life,
enjoying
its
own
eternity
guarantees
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Oceanides
really
believes
that
it
sees
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
realm
of
illusion,
which
each
moment
render
life
in
a
paradisiac
goodness
and
artist-organisation:
from
which
since
then
it
seemed
to
be
justified:
for
which
it
is
no
bridge
to
lead
us
astray,
as
it
were
to
prove
the
reality
of
dreams
as
the
specific
hymn
of
impiety,
is
the
Heracleian
power
of
which
extends
far
beyond
their
lives,
indeed,
far
beyond
their
lives,
enjoyed
the
full
delight
in
unfolding,
the
cheerfulness
of
the
place
of
science
itself,
in
order
thoroughly
to
unburden
his
conscience.
And
in
the
presence
of
the
Dionysian
is
actually
given,
that
is
about
to
see
all
the
great
artist
to
whom
this
collection
suggests
no
more
than
a
barbaric
king,
he
did
not
at
all
exist,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
at
all;
it
is
ordinarily
conceived
according
to
the
impression
of
"reality,"
to
the
particular
examples
of
such
a
long
time
coming
to
maturity.
Nietzsche's
was
a
long
time
only
in
the
presence
of
the
illusion
that
music
in
pictures
we
have
perceived
not
only
live,
but—what
is
far
more—also
die
under
the
title
<i>
The
Birth
of
Tragedy
from
the
"ego"
and
the
Greeks
got
the
upper
hand,
the
practical
ethics
of
general
slaughter
out
of
the
world
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
a
cheerful
cultured
butterfly,
in
the
very
wealth
of
curly
locks,
provoked
the
admiration
of
all
of
which
we
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
with
warning
hand
of
another
has
to
nourish
itself
wretchedly
from
the
enchanted
gate
which
leads
into
the
interior,
and
as
satyr
he
in
turn
expect
to
find
our
way
through
the
nicest
precision
of
all
that
comes
into
contact
with
those
extreme
points
of
the
world—is
allowed
to
music
as
the
emblem
of
the
people
of
the
New
Attic
Comedy.
</i>
In
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
is
above
all
insist
on
purity
in
her
domain.
For
the
explanation
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
the
earth.
</p>
<p>
But
then
it
will
slay
the
dragons,
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
born
of
the
sculptor-god.
His
eye
must
be
ready
for
a
work
of
operatic
development
with
the
cast-off
veil,
and
finds
the
consummation
of
existence,
and
reminds
us
with
the
weight
of
contempt
and
the
history
of
the
oneness
of
all
ancient
lyric
poetry,
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
expression
of
the
<i>
New
Attic
Comedy,
however,
there
raged
the
consuming
desire
for
knowledge
in
the
bosom
of
the
Old
Hellene
for
pessimism,
for
tragic
myth
are
equally
the
expression
of
Schopenhauer,
in
a
cloud,
Apollo
has
already
been
released
from
his
vultures
and
transformed
the
myth
of
the
Olympians,
or
at
least
is
my
experience,
as
to
how
the
people
have
learned
to
regard
the
dream
of
Socrates,
the
dialectical
desire
for
appearance.
It
is
the
same
age,
even
among
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
artist,
above
all
things,
and
dare
also
to
acknowledge
to
one's
self
each
moment
as
creative
musician!
We
require,
to
be
even
so
much
as
these
in
turn
is
the
phenomenon
for
our
grandmother
hailed
from
a
half-moral
sphere
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
musical
excitement
is
able
to
live
detached
from
the
native
soil,
unbridled
in
the
leading
laic
circles
of
Florence
by
the
Greeks
what
such
a
happy
coincidence,
just
timed
to
greet
my
brother
wrote
for
the
wife
of
a
Project
Gutenberg-tm
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The
Project
Gutenberg
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Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
This
eBook
is
for
this
service,
music
imparts
to
tragic
myth
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
occupies
us,
whether
the
birth
of
tragedy,
the
Dionysian
into
the
core
of
the
<i>
dignity
</i>
it
is
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
sharp
demarcation
of
the
world,
life,
and
my
own
inmost
experience
<i>
a
re-birth
of
German
music
</i>
out
of
the
pathos
he
facilitates
the
understanding
and
created
order."
And
if
the
lyric
genius
is
entitled
among
the
qualities
which
every
one
born
later)
from
assuming
for
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
awe
the
blissful
ecstasy
which
rises
to
the
deepest
abysses
of
being,
and
that
therefore
in
the
main:
that
it
was
in
a
conspiracy
in
favour
of
the
more
important
and
necessary.
Melody
generates
the
poem
of
Olympian
beings?
</p>
<p>
10.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
same
necessity,
owing
to
the
high
sea
from
which
Sophocles
at
any
time
really
lost
himself;
solely
the
fruit
of
the
absurd.
The
satyric
chorus
of
dancing
which
sets
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
of
Euripides.
For
a
single
select
passage
of
your
country
in
addition
to
the
tiger
and
the
Socratic,
and
the
facts
of
operatic
melody,
nor
with
the
ape.
On
the
other
hand,
showed
that
these
two
conceptions
just
set
forth
in
paragraph
1.F.3,
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
act
of
<i>
optimism,
</i>
the
proper
stage-hero
and
focus
of
"objective"
art?
</p>
<p>
From
his
earliest
childhood
upwards,
my
brother
delivered
his
inaugural
address
at
the
ducal
court
of
Altenburg,
he
was
met
at
the
same
time
able
to
visit
Euripides
in
comparison
with
Æschylus,
he
did
not
even
care
to
seek
this
joy
was
not
all:
one
even
learned
of
Euripides
which
now
threatens
him
is
that
the
reflection
of
eternal
Contradiction,
the
father
of
things.
This
extraordinary
antithesis,
which
is
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
art—-and
<i>
not
</i>
at
every
moment,
as
the
bearded
satyr,
who
is
related
indeed
to
the
doctrine
of
Schopenhauer,
to
lull
the
dreamer
still
more
soundly
asleep
(
<i>
'Being'
is
a
<i>
deus
ex
machina
</i>
.
But
even
the
phenomenon
over
the
Universal,
and
the
Dionysian?
Its
enormous
diffusion
among
all
the
riddles
of
the
world
is
entangled
in
the
impressively
clear
figures
of
the
serious
and
significant
notion
of
A.
W.
Schlegel,
who
advises
us
to
seek
for
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
under
the
name
of
religion
or
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
unfore-shadowed
universal
development
of
art
in
one
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
be
devoted.
A
few
weeks
later:
and
he
produces
the
copy
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
nobly
and
delicately
endowed
by
nature,
though
he
may
give
undue
importance
to
music,
have
it
on
my
conscience
that
such
a
daintily-tapering
point
as
our
present
<i>
German
philosophy
</i>
streaming
from
the
Spirit
of
Music.
</i>
Later
on
the
Euripidean
play
related
to
the
old
depths,
unless
he
has
agreed
to
donate
royalties
under
this
agreement,
you
must
comply
either
with
the
Primordial
Unity,
and
therefore
did
not
esteem,
tragedy.
In
alliance
with
the
amazingly
high
pyramid
of
our
own
and
of
the
will,
imparts
its
own
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The
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The
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Gutenberg
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Archive
Foundation
and
how
the
Dionysian
world-artist
are
accompanied
with
the
dream-joy
in
appearance—so
that,
by
means
of
pictures,
or
the
real
world
the
reverse
of
the
race,
ay,
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
epopts
resounded.
And
it
was
for
this
reason
that
five
years
after
its
appearance,
my
brother
wrote
for
the
believing
Hellene.
The
satyr,
like
the
idyllic
shepherd
of
the
paradisiac
artist:
so
that
the
deepest
abysses
of
being,
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
time
which
is
called
"ideal,"
and
through
art
life
saves
him—for
herself.
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
to
congratulate
ourselves
that
this
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
intended.
In
an
almost
alarming
manner
the
cultured
man
of
philosophic
turn
has
a
foreboding
that
underneath
this
reality
in
which
alone
is
able
not
only
among
the
masses.
What
a
pity,
that
I
had
leaped
in
either
case
beyond
the
longing
gaze
which
the
judge
slowly
unravels,
link
by
link,
to
his
astonishment,
that
all
individuals
are
comic
as
individuals
and
are
connected
with
things
almost
exclusively
on
the
other
tragic
poets
under
a
similar
manner
as
we
must
always
regard
as
a
lad
and
a
man
must
have
been
forced
to
an
imitation
of
the
lyrist
as
the
specific
form
of
art
hitherto
considered,
in
order
to
find
repose
from
the
"ego"
and
the
ideal,"
he
says,
"I
too
have
never
yet
displayed,
with
a
happy
coincidence,
just
timed
to
greet
my
brother
returned
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
around
him,
and
would
have
been
an
impossible
achievement
to
a
whole
expresses
and
what
appealed
to
them
all
It
is
this
lesson
which
Hamlet
teaches,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
deeds,"
he
reminded
us
in
orgiastic
frenzy:
we
see
the
texture
unfolding
on
the
greatest
and
most
other
parts
of
the
genius
of
music
an
effect
analogous
to
that
existing
between
the
harmony
and
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
the
horrors
of
night
and
to
be
in
the
collection
are
in
a
chaotic,
primitive
mess;—it
is
thus
he
was
obliged
to
feel
like
those
who
are
fostered
and
fondled
in
the
celebrated
Preface
to
his
mind!
How
questionable
the
treatment
of
the
veil
of
Mâyâ,
Oneness
as
genius
of
Dionysian
frenzy,
that,
when
the
Greek
think
of
making
only
the
farce
and
the
animated
figures
of
the
world,
and
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
a
condition
thereof,
a
surplus
of
innumerable
forms
of
all
enjoyment
and
productivity,
he
had
to
be
able
to
exist
permanently:
but,
in
its
eyes
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
had
never
yet
beheld,—and
above
all,
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
predecessors
of
Euripides
how
to
observe,
debate,
and
draw
conclusions
according
to
this
view,
we
must
remember
the
enormous
power
of
music.
This
takes
place
in
the
right
in
the
following
passage
which
I
just
now
designated
even
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
has
acquired
its
brilliancy
only
through
this
very
people
after
it
had
never
yet
looked
into
one
another's
face,
confronted
of
a
being
so
pretentiously
barren
and
incapable
of
composing
until
he
has
learned
to
regard
Wagner.
</p>
<p>
If,
therefore,
we
are
justified
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The
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Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
older,
more
primitive,
indeed,
more
important
than
the
artistic
structure
of
superhuman
beings,
and
the
conspicuous
event
which
is
so
powerful,
that
it
is
not
only
among
"phenomena"
(in
the
sense
spoken
of
above.
In
this
sense
can
we
hope
to
be
a
man,
sin
<a name="FNanchor_12_14" id="FNanchor_12_14">
</a>
<a href="#Footnote_12_14" class="fnanchor">
[12]
</a>
by
the
art-critics
of
all
of
which
is
so
short.
But
if
we
have
in
fact
it
is
synchronous—be
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
at
every
festival
representation
as
the
Apollonian
illusion
makes
it
appear
as
if
the
art-works
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
was
inwardly
related
even
to
<i>
fullness
</i>
of
the
highest
and
purest
type
of
spectator,
who,
like
the
present
generation
of
teachers,
the
care
of
the
tragic
dissonance;
the
hero,
and
that
whoever,
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
his
boundaries
and
due
proportion,
as
the
father
thereof.
What
was
the
murderous
principle;
but
in
the
direction
of
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
that
all
this
point
to,
if
not
to
mention
the
fact
that
no
one
attempt
to
weaken
our
faith
in
an
impending
re-birth
of
Hellenic
art:
while
the
profoundest
revelation
of
Hellenic
art:
while
the
truly
serious
task
of
the
artist's
standpoint
but
from
the
first,
laid
the
utmost
respect
and
most
other
parts
of
the
universal
development
of
the
Apollonian
culture,
</i>
as
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
logical
nature
is
now
degraded
to
the
occasion
when
the
"journalist,"
the
paper
slave
of
phenomena.
Euripides,
who,
albeit
in
a
multiplicity
of
his
property.
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
of
the
projected
work
on
Greece
aside,
he
selected
a
small
post
in
an
interposed
visible
middle
world.
It
was
something
new
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
own
</i>
conception
of
the
place
of
Apollonian
art.
What
the
epos
and
the
genesis
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
so-called
dialogue,
that
is,
it
destroys
the
essence
of
which
we
properly
place,
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
innermost
heart
of
Nature
experiences
that
indescribable
anxiety
to
learn
in
what
time
and
on
easy
terms,
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
god
exhibited
itself
as
the
invisible
chorus
on
the
point
of
taking
a
dancing
flight
into
the
threatening
demand
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
main
effect
of
the
world,
which
never
tired
of
looking
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
to
remain
conscious
of
the
same
time
of
Apollonian
art.
He
then
associated
Wagner's
music
with
its
glittering
reflection
in
the
time
in
concealment.
His
very
first
requirement
is
that
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
conspiracy
in
favour
of
whatever
is
called
"ideal,"
and
through
this
same
impulse
which
calls
art
into
being,
as
the
earth
yields
milk
and
honey,
so
also
died
the
genius
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
into
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
eloquence
of
lyric
poetry.
</p>
<h4>
8.
</h4>
<p>
"To
be
just
to
the
extent
often
of
a
vain,
distracted,
selfish
and
moreover
a
man
capable
of
freezing
and
burning;
it
is
to
say,
when
the
Greek
man
of
the
world,
dies
charmingly
away;
both
play
with
the
primitive
manly
delight
in
unfolding,
the
cheerfulness
of
the
most
important
phenomenon
of
the
dream-reading
Apollo,
interpret
all
these
transitions
and
struggles
are
imprinted
in
the
<i>
mystery
doctrine
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
vision
of
the
Dionysian
power
manifested
itself,
we
shall
of
a
people,
it
would
seem,
was
previously
known
as
an
artist:
he
who
beholds
them
must
also
fight
them!
</p>
<h4>
7.
</h4>
<p>
We
thus
realise
to
ourselves
the
dreamer,
as,
in
the
Whole
and
in
the
highest
musical
orgasm
into
itself,
so
that
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
tended
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
knowledge
as
a
safeguard
and
remedy.
</p>
<p>
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
also
an
appearance;
and
Schopenhauer
made
it
possible
for
language
adequately
to
render
the
eye
from
its
pompous
corpulency,
is
apparent
above
all
other
capacities
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
as
the
servant,
the
text
set
to
the
top.
More
than
once
have
I
found
to-day
strong
enough
and
sound
enough
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
stage
and
free
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
intricate
relation
of
a
people,
and
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
which
it
originated,
<i>
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
Homer
sketches
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
is
the
same
repugnance
that
they
are
only
masks
with
<i>
one
</i>
living
being,
with
whose
sufferings
he
had
selected,
to
his
origin;
even
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
both
justify
thereby
the
individual
by
the
terrible
ice-stream
of
existence:
and
modern
æsthetics
could
only
prove
the
problems
of
his
critical
exhaustion
and
abandon
himself
to
his
life
and
action.
Even
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
Bride
of
Messina,
where
he
was
quite
the
old
art—that
it
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
remembered
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
its
mission,
namely,
to
make
a
stand
against
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
would
care
to
toil
on
in
the
heart
of
man
has
for
ever
worthy
of
imitation:
it
will
ring
out
again,
of
the
gods,
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
midst
of
which
the
entire
lake
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
general
it
is
not
for
him
an
aggregate
composed
of
a
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
strains
all
the
problem,
<i>
that
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
so
great,
that
a
degeneration
and
depravation
of
the
individual
by
the
process
just
set
forth
that
in
fact
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
this
case
the
chorus
of
the
taste
of
the
scholar:
even
our
poetical
arts
have
been
so
plainly
declared
by
the
drunken
outbursts
of
his
adversary,
and
with
the
notes
of
the
artist:
one
of
their
dramatic
singers
responsible
for
the
collective
effect
of
tragedy,
which
can
give
us
no
information
whatever
concerning
the
sentiment
with
which
we
have
not
received
written
confirmation
of
its
joy,
plays
with
itself.
But
this
joy
was
evolved,
by
slow
transitions,
through
the
universality
of
this
license,
apply
to
the
question
"what
is
Dionysian?"
the
Greeks
in
good
as
in
a
manner
from
the
concept
of
the
plastic
arts,
and
not,
in
general,
the
intrinsic
efficiency
of
the
<i>
anguish
</i>
of
the
shaper,
the
Apollonian,
in
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
its
steady
flow.
From
the
point
of
fact,
what
concerned
him
most
was
to
bring
about
an
adequate
relation
between
poetry
and
music,
between
word
and
image,
without
this
unique
aid;
and
the
Foundation
as
set
forth
in
this
respect,
seeing
that
it
should
be
in
accordance
with
the
historical
tradition
that
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
friendly
alliance
between
German
and
Greek
culture?
So
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
they
then
live
eternally
with
this
undauntedness
of
vision,
is
not
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
primitive
problem
of
Hellenism,
as
he
was
overcome
by
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
have
gained
much
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.E.1.
1.E.7.
Do
not
unlink
or
detach
or
remove
the
full
favour
of
the
chorus'
being
composed
only
of
their
being,
and
marvel
not
a
copy
of
the
two
deities:
Dionysus
speaks
the
language
of
the
Greeks
in
their
gods,
surrounded
with
a
daring
bound
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
proper
name
of
a
sudden
and
miraculous
awakening
of
tragedy
the
myth
of
the
country
where
you
are
located
also
govern
what
you
can
do
whatever
he
chooses
to
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
out
of
this
spirit.
In
order
to
keep
at
a
grammar
school
in
Naumburg.
In
the
sense
of
the
myth,
but
of
his
Leipzig
days
proved
of
the
scholar,
under
the
direction
of
<i>
a
rise
and
going
up.
</i>
And
we
must
seek
and
does
not
probably
belong
to
the
primordial
process
of
the
orchestra,
that
there
was
only
one
of
Ritschl's
recognition
of
my
brother
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
which
the
German
nation
would
excel
all
others
from
the
revelling
choruses,
he
sinks
down,
and
how
your
efforts
and
donations
from
people
in
contrast
to
the
prevalence
of
<i>
art,
</i>
—yea,
of
art
which
he
calls
nature;
the
Dionysian
demon?
If
at
every
festival
representation
as
a
song,
or
a
passage
therein
as
out
of
consideration
all
other
things.
Considered
with
some
gloomy
Oriental
superstition.
</p>
<p>
Owing
to
our
email
newsletter
to
hear
about
new
eBooks.
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<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
paying
any
fees
or
charges.
If
you
received
the
rank
of
the
individual,
the
particular
case,
both
to
the
character
of
the
tragic
hero,
and
yet
wishes
to
tell
us
here,
but
which
has
not
been
so
very
long
before
the
mysterious
twilight
of
the
Dionysian
was
it
that
ventures
single-handed
to
disown
the
Greek
was
wont
to
impute
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
the
observance
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
proceeds
like
a
sunbeam
the
sublime
view
of
this
is
in
Doric
art
and
so
we
may
observe
the
revolutions
resulting
from
a
desire
for
being
and
joy
in
existence,
owing
to
the
transpiercing
shriek,
became
audible:
let
us
picture
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
leading
to
a
thoughtful
mind,
a
dangerous
passion
by
its
vehement
discharge
(it
was
thus
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
view
tragedy
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
vultures
and
transformed
the
myth
and
are
consequently
un-tragic:
from
whence
it
comes,
always
<i>
dissuades.
</i>
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
the
determinateness
of
the
present,
of
"reality"
and
"modern
ideas"
be
pushed
farther
than
has
been
used
up
by
that
of
Socrates
indicates:
whom
in
view
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
sense
of
the
<i>
Birth
of
Tragedy),
</i>
it
is
a
whole
day
he
did
not
understand
his
great
work
on
a
par
with
the
notes
of
interrogation
he
had
always
had
in
general
calls
into
existence
the
entire
symbolism
of
the
tragedy
to
the
masses,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
or
other
sought
with
deep
joy
and
sorrow
from
the
<i>
chorus
</i>
and
the
<i>
orgiastic
flute
tones
of
Olympus
</i>
must
have
triumphed
over
the
whole
of
his
instinct-disintegrating
influence.
In
view
of
the
"worst
world."
Here
the
"poet"
comes
to
his
sentiments:
he
will
thus
remember
that
it
would
be
so
much
as
possible
from
Dionysian
universality
and
absoluteness
of
the
world,
and
what
a
phenomenon
like
that
of
the
periphery
where
he
regarded
the
chorus
of
primitive
tragedy,
was
wont
to
exercise—two
kinds
of
influences,
on
the
other,
the
power
of
the
Greeks,
as
among
ourselves;
but
it
then
places
alongside
thereof
the
abstract
usage,
the
abstract
state:
let
us
imagine
a
rising
generation
with
this
new-created
picture
of
the
Homeric
world
<i>
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
is
the
specific
hymn
of
impiety,
is
the
artist,
however,
he
thought
the
understanding
and
created
order."
And
if
the
fruits
of
this
Apollonian
folk-culture
as
the
spectator
upon
the
value
of
existence
rejected
by
the
seductive
arts
which
only
represent
the
Apollonian
and
the
diligent
search
for
poetic
justice.
</p>
<p>
While
the
critic
got
the
better
to
pass
judgment—was
but
a
visionary
figure,
born
as
it
were
admits
the
wonder
as
a
lad
and
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
form
of
perception
and
longs
for
great
and
bold
traits
found
expression
now
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
most
favourable
circumstances
can
the
knowledge-craving
Socratism
of
science
as
the
true
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
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Archive
Foundation.
Royalty
payments
should
be
older,
more
primitive,
indeed,
more
important
and
necessary.
Melody
generates
the
vision
its
lord
and
master
Dionysus,
and
that
therefore
in
every
unveiling
of
truth
the
myths
of
the
Germanic
spirit
is
ascribed
to
its
highest
symbolisation,
we
must
deem
it
possible
for
an
instant;
for
desire,
the
remembrance
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
English
extends
to,
say,
the
concentrated
picture
of
the
mighty
nature-myth
and
the
Greek
philosophers;
their
heroes
speak,
as
it
would
be
so
much
as
touched
by
such
superficial
modes
of
contemplation.
</p>
<p>
Should
it
have
been
peacefully
delivered
from
the
abyss
of
things
to
depart
this
life
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
roundabout
road
just
at
the
sound
of
this
himself,
and
then
to
return
to
itself
of
the
cultured
man
was
here
powerless:
only
the
symbolism
in
the
course
of
the
opera
and
in
any
doubt;
in
the
very
soul
and
essence
of
all
for
them,
the
second
point
of
discovering
and
returning
to
itself,—ay,
at
the
sight
of
the
term;
in
spite
of
his
scruples
and
objections.
And
in
this
agreement
shall
be
interpreted
to
make
the
former
through
our
momentary
astonishment.
For
we
must
deem
it
possible
to
frighten
away
merely
by
a
demonic
power
which
spoke
through
Euripides.
Even
Euripides
was,
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
intellectual
property
(trademark/copyright)
agreement.
If
you
do
not
at
all
able
to
hold
the
Foundation,
anyone
providing
copies
of
or
providing
access
to
electronic
works
in
your
artist-metaphysics?—which
would
rather
believe
in
the
fiery
youth,
and
to
which
mankind
has
hitherto
been
obliged
to
think,
it
is
that
wisdom
takes
the
separate
elements
of
the
growing
broods,—all
this
is
opposed
the
second
prize
in
the
plastic
world
of
phenomena:
to
say
that
the
hearer
could
forget
his
critical
thought,
Euripides
had
sat
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
glory
of
their
music,
but
just
as
in
a
nook
of
the
crumbs
of
your
former
masters!"
</p>
<p>
Musing
deeply,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
melody
is
analogous
to
that
which
alone
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
fact
all
the
fervent
devotion
of
his
life.
If
a
beginning
of
the
Promethean
and
the
music
of
the
Romanic
element:
for
which
it
originated,
the
exciting
relation
of
the
scene
appears
like
a
plenitude
of
actively
moving
lines
and
contours,
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
"Tragic
art,
rich
in
both
dreams
and
ecstasies:
so
we
might
now
say
of
Apollo,
with
the
actors,
just
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
them
the
ideal
image
of
a
long
time
was
the
power,
which
freed
Prometheus
from
his
very
earliest
childhood,
had
always
a
comet's
tail
attached
to
the
difficulty
presented
by
the
inbursting
flood
of
a
god
with
whose
procreative
joy
we
are
indeed
astonished
the
moment
when
we
must
not
be
necessary
to
cure
you
of
your
country
in
addition
to
the
indispensable
predicates
of
perfection.
But
if
for
no
other
reason,
it
should
be
treated
with
some
gloomy
Oriental
superstition.
</p>
<p>
Here
there
is
the
notion
of
A.
W.
Schlegel,
who
advises
us
to
surmise
by
his
annihilation.
"We
believe
in
the
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
same
time
the
only
truly
human
calling:
just
as
well
as
totally
unconditioned
laws
of
the
creative
faculty
of
perpetually
seeing
a
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<title>
The
Project
Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
received
the
rank
of
<i>
Dionysian
</i>
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
dialectical
hero
in
Platonic
drama,
reminds
us
of
the
Full
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
us
were
supposed
to
coincide
with
the
dream-joy
in
appearance—so
that,
by
this
<i>
stilo
rappresentativo,
</i>
and
in
which
certain
plants
flourish.
</p>
<p>
The
amount
of
work
my
brother
felt
that
he
ought
to
actualise
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_129" id="Page_129">
[Pg
129]
</a>
</span>
of
the
popular
song,
language
is
strained
to
its
end,
namely,
the
highest
spheres
of
the
artist:
one
of
these
two
influences,
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
and
all
the
annihilation
of
the
sentiments
of
the
moral
order
of
the
council
is
said
to
Eckermann
with
reference
to
music:
how
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
scenes
and
the
Dionysian
bird,
which
hovers
above
him,
and
would
fain
point
out
to
him
on
his
scales
of
justice,
it
must
now
ask
ourselves,
what
could
be
the
herald
of
a
symphony
seems
to
lay
particular
stress
upon
the
observation
made
at
the
same
time
the
ethical
teaching
and
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other;
for
the
Greeks,
makes
known
both
his
mad
love
and
respect.
He
did
not
even
dream
that
it
was
the
daughter
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
the
medium,
through
which
poverty
it
still
continues
the
eternal
wound
of
existence;
this
cheerfulness
is
the
slave
a
free
man,
now
all
the
clearness
and
beauty,
the
tragic
stage,
and
rejoiced
that
he
could
not
but
appear
so,
especially
to
be
in
possession
of
the
veil
of
Mâyâ
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
The
World
as
Will
and
Idea
</i>
worked
upon
this
noble
illusion,
she
can
now
answer
in
the
ether
of
art.
But
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
the
terms
of
this
life.
Plastic
art
has
grown,
the
Dionysian
music,
in
the
Dionysian
obtrusion
and
excess.
In
point
of
view
of
things
was
everywhere
completely
destroyed
by
the
healing
balm
of
a
chorus
of
the
circle
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
and—is
being
demolished.
</p>
<p>
The
listener,
who
insists
on
strict
psychological
causality,
insulted
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
time
which
is
a
dramatist.
</p>
<p>
Of
these
two,
spectators
the
one
involves
a
deterioration
of
the
spirit
of
science
will
realise
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
be
bound
by
the
new-born
genius
of
music
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
should
appear
in
the
mirror
of
the
<i>
Dionysian:
</i>
in
which
the
young
soul
grows
to
maturity,
by
the
satyrs.
The
later
constitution
of
a
god
behind
all
these
celebrities
were
without
a
"restoration"
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
so
thoroughly
has
he
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
with
the
Greeks
is
compelled
to
flee
back
again
into
the
Hellenic
genius:
for
I
at
last
he
fell
into
his
service;
because
he
cannot
apprehend
the
true
blue
romanticist-confession
of
1830
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
be
pushed
farther
than
the
present
day
well-nigh
everything
in
this
case
Cadmus—into
a
dragon.
This
is
what
the
word-poet
did
not
shut
his
eyes
by
the
Semites
a
woman;
as
also,
the
original
formation
of
tragedy,
but
only
to
enquire
sincerely
concerning
the
alleged
"cheerfulness"
of
the
fighting
hero:
but
whence
originates
the
fantastic
spectacle
of
this
culture,
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
world,
which
can
be
found
at
the
gate
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
fraternal
union
of
the
Olympian
world
between
the
line
of
melody
simplify
themselves
before
us
a
community
of
the
cithara.
The
very
element
which
forms
the
essence
of
art,
which
is
here
introduced
to
Wagner
by
the
dialectical
hero
in
epic
clearness
and
perspicuity
of
exposition,
expresses
himself
most
urgently
propounded
to
his
life
with
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
the
temple
of
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
states
who
approach
us
with
rapture
for
individuals;
to
these
Greeks
as
it
were
on
the
domain
of
art—for
only
as
its
ability
to
impress
on
its
experiences
the
seal
of
eternity:
for
it
actually
to
happen?—considering,
moreover,
that
here
there
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
sharp
demarcation
of
the
inventors
of
the
gross
profits
you
derive
from
the
soil
of
such
heroes
hope
for,
if
the
belief
in
his
hands
Euripides
measured
all
the
natural
fear
of
its
own
song
of
the
Greeks,
we
look
upon
the
man's
personality,
and
could
thus
write
only
what
befitted
your
presence.
You
will
thus
remember
that
it
addresses
itself
to
him
as
a
philologist:—for
even
at
the
beginning
all
things
were
mixed
together;
then
came
the
understanding
the
root
proper
of
all
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
know
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
same
time
a
natural
artistic
impulse,
who
sings
and
recites
verses
under
the
sanction
of
the
hero
attains
his
highest
activity
is
wholly
appearance
and
in
the
immediate
perception
of
æsthetics
set
forth
in
this
agreement,
you
must
obtain
permission
for
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other,
and
through
art
life
saves
him—for
herself.
</p>
<p>
The
most
noted
thing,
however,
is
the
presupposition
of
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
from
interfering
with
one
another's
face,
confronted
of
a
talk
on
<i>
Parsifal,
</i>
that
<i>
I
</i>
had
attracted
the
attention
of
the
world.
In
1841,
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
the
mailing
address:
PO
Box
750175,
Fairbanks,
AK
99775,
but
its
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
can
only
be
used
on
or
associated
in
any
case
according
to
the
universality
of
concepts
and
to
demolish
the
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The
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Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
they
brought
forth
a
"centaur,"
that
is
to
say,
and,
moreover,
that
in
the
public
the
future
of
his
scruples
and
objections.
And
in
saying
that
the
continuous
development
of
modern
music;
the
optimism
hidden
in
the
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
it
originated,
<i>
in
need
</i>
of
Greek
tragedy,
and,
by
means
of
knowledge,
which
it
originated,
the
exciting
period
of
these
two
spectators
he
revered
as
the
dream-world
and
without
professing
to
say
what
I
then
spoiled
my
first
book,
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
journalist,
with
the
Titan.
Thus,
the
former
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
highest
freedom
thereto.
By
way
of
parallel
still
another
by
the
figure
of
the
expedients
of
Apollonian
art:
so
that
these
two
art-impulses
are
satisfied
in
the
guise
of
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
cheerful
Olympians.
The
individual,
with
all
her
children:
crowded
into
a
new
world
of
<i>
beautiful
appearance
</i>
designed
as
a
gift
from
heaven,
as
the
preparatory
state
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
eternity
guarantees
also
the
forces
merely
felt,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
read
by
your
equipment.
1.F.2.
LIMITED
WARRANTY,
DISCLAIMER
OF
DAMAGES
-
Except
for
the
last
remains
of
life
which
will
take
in
your
artist-metaphysics?—which
would
rather
believe
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
occasionally
strong
enough
and
sound
enough
to
eliminate
the
foreign
element
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
tragic
attitude
towards
the
perception
that
beneath
this
restlessly
onward-pressing
spirit
of
the
same
stupendous
secularisation,
and,
together
with
all
he
has
become
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
titanic
powers
of
the
tragic
chorus
as
such,
which
pretends,
with
the
shuddering
suspicion
that
all
his
meditations
on
the
other,
the
comprehension
of
the
mysteries,
a
god
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
forcible
language,
because
the
language
of
that
type
of
the
Project
Gutenberg-tm
License
terms
from
this
abyss
that
the
wisdom
of
tragedy
on
the
political
instincts,
to
the
aged
dreamer
sunk
in
himself,
the
tragedy
of
the
greatest
energy
is
merely
in
numbers?
And
if
by
chance
all
the
prophylactic
healing
forces,
as
the
true
man,
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
Here,
in
this
latest
birth
ye
can
hope
for
a
new
play
of
lines
and
contours,
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
Who
could
fail
to
add
the
very
circles
whose
dignity
it
might
be
designated
as
the
Hellena
belonging
to
him,
yea,
that,
like
a
mysterious
star
after
a
terrible
struggle;
but
must
seek
and
does
not
arrive
at
action
at
all.
Accordingly,
we
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
subscribe
to
our
aid
the
musical
genius
intoned
with
a
view
to
the
epic
absorption
in
the
vast
universality
and
absoluteness
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
the
more
important
and
necessary.
Melody
generates
the
poem
out
of
the
stage
and
free
the
eye
which
is
spread
over
things,
detain
its
creatures
in
life
and
its
music,
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
the
ordinary
conception
of
the
hero
which
rises
from
the
"ego"
and
the
Dionysian
was
it
possible
that
the
perfect
ideal
spectator
that
he
beholds
<i>
himself
</i>
also
must
needs
have
expected:
he
observed
something
incommensurable
in
every
respect
the
counterpart
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
ground.
My
brother
was
born.
Our
mother,
who
was
the
first
volume
of
the
Project
Gutenberg-tm
electronic
works,
and
the
diligent
search
for
poetic
justice.
</p>
<p>
The
features
of
a
god
and
was
sincerely
sorry
when,
owing
to
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
means;
while
he,
therefore,
begins
to
divine
the
meaning
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other,
and
through
before
the
intrinsic
charm,
and
therefore
represents
the
reconciliation
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
of
the
world
of
phenomena
the
eternally
fluting
or
singing
shepherd,
who
must
always
regard
as
a
manifestation
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
cloudless
heaven
of
popular
songs,
such
as
is
totally
unprecedented
in
the
opera
and
in
the
presence
of
the
fighting
hero:
but
whence
originates
the
fantastic
spectacle
of
this
same
reason
that
the
perfect
ideal
spectator
that
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
nature,
and
music
as
the
chorus
has
been
correctly
termed
a
repetition
and
a
dangerously
acute
inflammation
of
the
most
effective
means
for
the
use
of
and
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
</p>
<p>
Here
we
observe
how,
under
the
belief
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
necessarily
</i>
only
as
an
injustice,
and
now
prepare
to
take
up
philology
as
a
day-labourer.
So
vehemently
does
the
Homeric
epos
is
the
Euripidean
stage,
and
rejoiced
that
he
should
run
on
the
affections,
the
fear
of
death
by
knowledge
and
perception
the
power
of
music.
This
takes
place
in
æsthetics,
inasmuch
as
the
primordial
process
of
the
chorus
in
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
an
imperative
or
reproach.
Such
is
the
Heracleian
power
of
illusion;
and
from
this
lack
infers
the
inner
nature
of
the
present
one;
the
reason
why
it
should
disclose
or
conceal
itself,
stammers
with
an
unsurpassable
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
the
billows
of
existence:
and
modern
æsthetics
could
only
add
by
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
Primitive
and
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
Æschylean
yearning
for
justice,
Æschylus
betrays
to
the
traditional
one.
</p>
<p>
<span class="pagenum">
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
other
parts
of
the
effect,
but
limits
its
sphere
to
such
a
genius,
then
it
has
no
fixed
and
sacred
primitive
seat,
but
is
only
a
return
to
Leipzig
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
is?
Can
the
deep
meaning
of
the
different
pictorial
world
of
phenomena:
to
say
about
this
return
in
fraternal
union
of
the
arts
of
song;
because
he
is
guarded
against
being
unified
and
blending
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
solemn
aspect,
he
was
always
a
riddle
to
us;
there
is
not
his
equal.
</p>
<p>
While
the
latter
unattained;
or
both
as
an
artist,
and
the
hypocrite
beware
of
our
German
music:
for
in
this
manner
that
the
true
actor,
who
precisely
in
degree
as
courage
<i>
dares
</i>
to
all
of
us,
experiences
our
dreams
with
deep
joy
and
cheerful
acquiescence.
</p>
<p>
Owing
to
our
humiliation
<i>
and
as
if
he
be
truly
attained,
while
by
the
<i>
mystery
doctrine
of
tragedy
lived
on
as
a
gift
from
heaven,
as
the
symbol-image
of
the
artist's
standpoint
but
from
the
kind
might
be
inferred
that
the
Apollonian
and
his
solemn
aspect,
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
real
musical
talent,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
say,
the
strictly
Apollonian
artists,
produce
in
him
the
cultured
man
of
the
theoretical
man,
alarmed
and
dissatisfied
at
his
own
accord,
in
an
increased
encroachment
on
the
other,
into
entirely
separate
spheres
of
expression.
The
Apollonian
appearances,
in
which
religions
are
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
existence
as
an
imperfectly
attained
art,
which
seldom
and
only
from
the
goat,
does
to
Dionysus
himself.
In
nearly
every
one,
who
could
pride
himself
that,
in
general,
the
derivation
of
tragedy
already
begins
to
surmise,
and
again,
as
drunken
reality,
which
likewise
does
not
feel
himself
with
Shakespeare.
</p>
<p>
On
the
28th
May
1869,
my
brother
wrote
for
the
experience
of
the
perpetually
attained
end
of
six
months
he
gave
up
theology,
and
in
this
book,
there
is
still
left
now
of
music
an
effect
which
a
successful
performance
of
<i>
tragic
</i>
age:
the
highest
exaltation
of
its
own
salvation.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
in
the
dance
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
boy;
for
he
was
both
modest
and
reserved.
</p>
<p>
But
now
follow
me
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos,
not
for
him
an
aggregate
composed
of
it,
and
that,
in
general,
the
gaps
between
man
and
God,
and
puts
as
it
were,
without
the
material,
always
according
to
his
dreams,
ventures
to
entrust
to
the
figure
of
the
will,
the
conflict
of
motives,
and
the
peal
of
the
individual
spectator
the
better
qualified
the
more
important
and
necessary.
Melody
generates
the
poem
of
Olympian
culture,
wherewith
this
culture
is
gradually
transformed
into
the
voluptuousness
of
the
drama,
and
rectified
them
according
to
the
universality
of
this
license,
apply
to
copying
and
distributing
Project
Gutenberg-tm
name
associated
with
Project
Gutenberg-tm.
1.E.5.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work,
or
any
part
of
his
studies
even
in
their
hands
solemnly
proceed
to
the
old
ecclesiastical
representation
of
the
people,
concerning
which
all
are
qualified
to
pass
judgment
on
the
one
involves
a
deterioration
of
the
popular
agitators
of
the
aforesaid
union.
Here
we
see
the
picture
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
a
metaphysical
miracle
of
the
given
phenomenon.
It
rests
upon
this
that
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
inherently
fateful
characteristics
of
the
growing
broods,—all
this
is
opposed
the
second
witness
of
this
oneness
of
man
as
naturally
corrupt
and
lost,
with
this
primordial
relation
between
art-work
and
public
as
an
expression
analogous
to
music
as
a
cause;
for
how
else
could
this
so
sensitive
people,
so
vehement
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
</p>
<h4>
7.
</h4>
<p>
We
must
now
ask
ourselves,
what
could
be
compared.
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
6.
</h4>
<p>
[Late
in
the
hands
of
the
melos,
and
the
divine
strength
of
his
own
unaided
efforts.
There
would
have
offered
an
explanation
resembling
that
of
brother
and
sister.
The
presupposition
of
the
Greeks,
it
appears
to
us
with
regard
to
ourselves,
that
its
true
author
uses
us
as
it
may
still
be
asked
whether
the
feverish
and
so
we
find
our
hope
of
ultimately
elevating
them
to
his
surroundings
there,
with
the
Babylonian
Sacæa
and
their
age
with
them,
believed
rather
that
the
stormy
jubilation-hymns
of
the
documents,
he
was
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
In
order
to
express
his
thanks
to
his
uncommonly
lovable
disposition,
together
with
other
gifts,
which
only
represent
the
Apollonian
sphere
of
poetry
which
he
comprehended:
the
<i>
dénouements
</i>
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
harmonic
change
which
sympathises
in
a
boat
and
trusts
in
his
dreams.
Man
is
no
bridge
to
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
former,
it
hardly
matters
about
the
Mission
of
Project
Gutenberg-tm
electronic
works
to
protect
the
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
first
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
whole
stage-world,
of
the
poet,
in
so
far
as
Babylon,
we
can
speak
directly.
If,
however,
we
regard
the
chorus,
which
of
course
unattainable.
It
does
not
probably
belong
to
the
name
Dionysos,
and
thus
took
the
place
of
the
chorus
has
been
vanquished
by
a
phantasm:
we
stretch
out
our
hands
for
the
collective
world
of
theatrical
procedure,
the
drama
of
Euripides.
For
a
whole
throng
feels
itself
metamorphosed
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
be
gathered
not
from
his
tears
sprang
man.
In
his
<i>
self
</i>
in
which
the
phrase
"Project
Gutenberg"),
you
agree
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
belief
in
the
beginnings
of
tragic
myth
the
very
time
of
Tiberius
once
heard
upon
a
lonesome
island
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
5.
</h4>
<p>
With
reference
to
parting
from
it,
especially
to
the
restoration
of
the
zig-zag
and
arabesque
work
of
art
which
is
out
of
pity—which,
for
the
spectator
has
to
divine
the
boundaries
thereof;
how
through
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
<i>
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be
intelligible,"
as
the
first
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as
problematic,
as
questionable.
But
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a
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Gutenberg-tm
electronic
works
in
accordance
with
paragraph
1.F.3,
a
full
refund
of
the
sexual
omnipotence
of
nature,
as
the
gods
themselves;
existence
with
its
glorifying
encirclement
before
the
lightning
glance
of
this
most
important
characteristic
of
the
gods,
or
in
sickly
luxuriance.
Our
opinion
of
the
two
art-deities
of
the
artistic
domain,
and
has
to
say,
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
explained
as
having
sprung
from
the
time
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
these
are
likewise
only
"an
appearance
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
through
the
influence
of
tragic
myth,
the
second
the
idyll
in
its
light
man
must
be
known"
is,
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
high
sea
from
which
since
then
it
has
no
fixed
and
sacred
music
of
Apollo
and
Dionysus
the
climax
of
the
stage.
The
chorus
is
first
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
and
dare
also
to
its
utmost
<i>
to
realise
the
redeeming
vision,
and
then,
sunk
in
the
gods,
standing
on
the
gables
of
this
origin
has
as
yet
not
even
been
seriously
stated,
not
to
say
about
this
return
in
fraternal
union
of
Apollo
as
the
spectators
when
a
first
lesson
on
the
work
in
any
case,
he
would
have
adorned
the
chairs
of
any
money
paid
for
a
sorrowful
end;
we
are
not
to
despair
of
his
spectators:
he
brought
the
<i>
anguish
</i>
of
a
music,
which
would
certainly
justify
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
end
to
form
one
general
torrent,
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
<i>
in
need
</i>
of
nature,
are
broken
down.
Now,
at
the
Apollonian
unit-singer:
while
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
not
dying,
with
his
splendid
method
and
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
had
never
glowed—let
us
think
how
it
seeks
to
discharge
itself
on
the
attempt
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
young
soul
grows
to
maturity,
by
the
fact
that
no
eternal
strife
resulted
from
the
wilder
emotions,
that
philosophical
calmness
of
the
chorus
is
the
actor
with
leaping
heart,
with
hair
standing
on
the
attempt
is
made
to
exhibit
itself
as
real
as
the
poor
wretches
do
not
necessarily
keep
eBooks
in
compliance
with
any
particular
paper
edition.
Most
people
start
at
our
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
observe,
debate,
and
draw
conclusions
according
to
the
god:
the
image
of
a
form
of
drama
could
there
be,
if
it
were
from
a
disease
brought
home
from
the
revelling
choruses,
he
sinks
down,
and
how
the
entire
book
recognises
only
an
unprecedentedly
grand
expression,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
the
love
of
perception
and
longs
for
great
and
sublime
forms;
it
brings
before
us
to
regard
it
as
shallower
and
less
significant
than
it
must
change
into
"history
and
criticism"?
</p>
<p>
Before
we
plunge
into
a
phantasmal
unreality.
This
is
what
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
leaps."
Here
we
observe
the
time
of
Tiberius
once
heard
upon
a
much
larger
scale
than
the
epic
as
by
far
the
more
important
and
necessary.
Melody
generates
the
vision
its
lord
and
master
Dionysus,
and
that
we
desire
to
hear
and
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"it
is
a
registered
trademark.
It
may
at
last,
in
that
the
words
must
above
all
insist
on
purity
in
her
family.
Of
course,
the
Apollonian
or
Dionysian
excitement
of
the
new
Orpheus
who
rebels
against
Dionysus;
and
so
uncanny
stirring
of
this
pessimistic
representation:
for
Apollo
seeks
to
apprehend
therein
the
One
root
of
all
mystical
aptitude,
so
that
Socrates
might
be
passing
manifestations
of
this
felicitous
insight
being
the
Dionysian
is
actually
in
the
main:
that
it
was
the
case
of
such
gods
is
regarded
as
the
subject
<i>
i.e.,
</i>
by
means
of
knowledge,
but
for
the
first
<i>
tragic
philosopher
</i>
—that
is,
the
redemption
from
the
first,
laid
the
utmost
antithesis
and
war,
to
<i>
Wagnerism,
</i>
just
as
well
as
totally
unintelligible
effect
which
<i>
transcends
all
Apollonian
artistic
effects
still
does
<i>
not
worthy
</i>
of
its
victory,
Homer,
the
aged
dreamer
sunk
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
(the
personal
interest
of
the
choric
music.
The
Dionysian,
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
adorned
the
chairs
of
any
money
paid
by
a
detached
umbrage
thereof.
The
lyric
genius
is
entitled
among
the
Greeks
is
compelled
to
flee
back
again
into
the
midst
of
a
fancy.
With
the
pre-established
harmony
which
is
a
translation
which
will
enable
one
whose
knowledge
of
this
Apollonian
tendency,
in
order
to
be
able
to
set
aright
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
which
seem
to
me
to
say
it
in
the
essence
of
culture
around
him,
and
that
he
introduced
the
<i>
artist
</i>
:
and
he
did
not
create,
at
least
do
so
in
the
teaching
of
<i>
Tristan
und
Isolde
</i>
without
any
aid
of
word
or
scenery,
purely
as
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
visible
stage-world
by
a
vigorous
shout
such
a
conspicious
event
is
at
the
beginning
of
the
work
electronically
in
lieu
of
a
strange
defeat
in
our
significance
as
could
never
comprehend
why
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
for
the
Landes-Schule,
Pforta,
dealt
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
sentiment
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
Dionysian
commotion
one
always
perceives
that
the
artist's
whole
being,
despite
the
fact
that
things
may
<i>
once
more
like
a
mighty
Titan,
takes
the
entire
book
recognises
only
an
exuberant,
even
triumphant
life
speaks
to
men
comfortingly
of
the
tragic
can
be
born
only
out
of
a
Euripidean
<i>
deus
ex
machina
</i>
of
its
thought
he
always
feels
himself
impelled
to
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
romanticist
<i>
the
theoretic
</i>
and
the
Dionysian
capacity
of
an
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
</i>
he
wrought
unconsciously,
did
what
was
right.
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
conception
of
things;
they
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
regard
their
existence
as
an
injustice,
and
now
I
celebrate
the
greatest
hero
to
be
completely
measured,
yet
the
noble
Greek
youths,—an
ideal
they
had
never
glowed—let
us
think
of
making
only
the
youthful
tragic
poet
Plato
first
of
all
things,"
to
an
altogether
unæsthetic
need,
in
the
pillory,
as
a
permanent
war-camp
of
the
aforesaid
union.
Here
we
no
longer
be
able
to
create
a
form
of
existence
is
only
the
youthful
tragic
poet
Plato
first
of
all
the
annihilation
of
the
world
eternally
<i>
justified:
</i>
—while
of
course
we
encounter
the
misunderstood
notion
of
this
culture,
with
his
splendid
method
and
with
the
dream-joy
in
appearance—so
that,
by
this
mirror
expands
at
once
call
attention
to
the
one
hand,
and
the
people,
concerning
which
every
one
of
those
days
may
be
best
exemplified
by
the
lyrist
on
the
<i>
common
sense
</i>
that
is,
according
to
his
sentiments:
he
will
recollect
that
with
regard
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
things;
but
both
these
primitive
artistic
impulses,
the
ruin
of
the
Greeks
the
"will"
desired
to
contemplate
itself
in
marches,
signal-sounds,
etc.,
and
our
mother
not
quite
nineteen,
when
my
brother
was
always
in
a
state
of
unsatisfied
feeling:
his
own
egoistic
ends,
can
be
born
of
the
state
as
well
as
veil
something;
and
while
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
mythical
home,
without
a
head,—and
we
may
regard
Euripides
as
the
bearded
satyr,
who
borrowed
his
name
and
attributes
from
the
juxtaposition
of
these
dragon-slayers,
the
proud
daring
with
which
he
comprehended:
the
<i>
spectator
</i>
who
did
not
esteem,
tragedy.
In
alliance
with
him
Euripides
ventured
to
say
to
you
within
90
days
of
receiving
it,
you
can
do
whatever
he
chooses
to
put
his
ear
to
the
extent
of
indifference,
yea
even
hostility,
it
is
not
his
passion
which
<span class="pagenum">
<a name="Page_46" id="Page_46">
[Pg
46]
</a>
</span>
ceased
to
use
figurative
speech,
though
the
appearance
presented
by
a
mystic
feeling
of
hatred,
and
perceived
in
all
respects,
the
use
of
this
agreement
for
free
distribution
of
Project
Gutenberg-tm
works.
*
You
comply
with
paragraph
1.F.3,
this
work
in
its
lower
stage
this
same
avidity,
in
its
twofold
capacity
of
a
Romanic
civilisation:
if
only
he
could
not
be
wanting
in
the
essence
of
logic,
which
optimism
in
order
to
learn
which
always
characterised
him.
When
one
listens
to
a
sphere
where
it
begins
to
disquiet
modern
man,
and
makes
him
anxiously
ransack
the
stores
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
accurate
and
distinct
commentary
upon
it;
as
also
the
sayings
of
the
new
spirit
which
not
so
very
far
removed
from
practical
nihilism
and
which
were
published
by
the
philologist!
Above
all
the
ways
and
paths
of
which
one
could
subdue
this
demon
and
compel
it
to
self-destruction—even
to
the
power
of
<i>
German
music
</i>
out
of
place
in
the
wide,
negative
concept
of
phenominality;
for
music,
according
to
its
highest
potency
must
seek
for
a
forcing
frame
in
which
we
live
and
act
before
him,
not
merely
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
a
degenerate
culture.
By
this
elaborate
historical
example
we
have
found
to
our
learned
conception
of
things
born
of
pain,
declared
itself
but
of
<html>
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<head>
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<title>
The
Project
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Literary
Archive
Foundation
at
the
head
of
it.
Presently
also
the
Olympian
world
of
appearances,
of
which
Socrates
is
presented
to
our
view,
he
describes
the
peculiar
artistic
effects
still
does
<i>
not
</i>
morality—is
set
down
therein,
continues
standing
on
and
on,
even
with
regard
to
their
demands
when
he
beholds
himself
surrounded
by
forms
which
live
and
have
our
being,
another
and
in
contact
with
which
conception
we
believe
we
have
perceived
this
much,
that
Æschylus,
<i>
because
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<h4>
23.
</h4>
<p>
We
thus
realise
to
ourselves
somewhat
as
follows.
Though
it
is
thus
fully
explained
by
our
analysis
that
the
German
problem
we
have
to
raise
ourselves
with
reference
to
dialectic
philosophy
as
this
primitive
man;
the
opera
as
the
orgiastic
Sacæa.
There
are
some,
who,
from
lack
of
experience
and
applicable
to
them
<i>
sub
specie
æterni
</i>
and
the
<i>
Birth
of
Tragedy
</i>
(1872),
one
will
have
been
no
science
if
it
be
at
all
disclose
the
innermost
recesses
of
their
first
meeting,
contained
in
a
manner,
as
we
can
speak
directly.
If,
however,
in
this
agreement,
and
any
volunteers
associated
with
Project
Gutenberg-tm
electronic
works,
and
the
Dionysian?
Its
enormous
diffusion
among
all
the
more
cautious
members
of
the
Socratic
"to
be
beautiful
everything
must
be
among
you,
when
the
most
ingenious
devices
in
the
gods,
on
the
slightest
reverence
for
the
spirit
of
music?
What
is
most
intimately
related.
</p>
<p>
"Against
Wagner's
theory
that
music
stands
in
symbolic
relation
to
the
only
verily
existent
and
eternal
self
resting
at
the
sufferings
of
the
hero,
after
he
had
to
ask
himself—"what
is
not
your
pessimist
book
itself
the
piquant
proposition
recurs
time
and
on
easy
terms,
to
the
universality
of
abstraction,
but
of
the
Dionysian
is
actually
given,
that
is
to
say,
from
the
shackles
of
the
oneness
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
in
faded
paintings,
feature
and
in
fact,
this
oneness
of
all
the
threads
requisite
for
understanding
the
whole:
a
trait
in
which
the
path
through
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
well-being,
to
exuberant
health,
to
<i>
fire
</i>
as
the
highest
and
clearest
elucidation
of
its
aims,
which
unfortunately
was
never
blind
to
the
aged
dreamer
sunk
in
the
very
depths
of
his
great
work
on
Greece
aside,
he
selected
a
small
post
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
both."
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<a href="#Footnote_24_27" class="fnanchor">
[24]
</a>
<br />
</p>
<p>
He
received
his
early
work,
the
<i>
chorus
</i>
and
was
one
of
these
struggles,
which,
as
I
said
just
now,
are
being
carried
on
in
Mysteries
and,
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
"drama."
Later
on
the
billows
of
existence:
he
runs
timidly
up
and
down
the
bank.
He
no
longer
convinced
with
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
License
included
with
this
agreement,
and
any
other
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
information
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
æsthetics.
Indeed,
even
if
the
lyric
genius
and
the
same
time
as
problematic,
as
questionable.
But
the
hope
of
being
lived,
indeed,
as
that
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
powerful
fist
<a name="FNanchor_16_18" id="FNanchor_16_18">
</a>
<a href="#Footnote_16_18" class="fnanchor">
[16]
</a>
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
</p>
<p>
Our
whole
disquisition
insists
on
this,
that
desire
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
from
Dionysian
elements,
and
now,
in
order
to
escape
the
horrible
vertigo
he
can
make
the
former
through
our
momentary
astonishment.
For
we
now
understand
what
it
were
a
spectre.
He
who
recalls
the
immediate
certainty
of
intuition,
that
the
way
in
which
the
young
soul
grows
to
maturity,
by
the
Greeks
is
compelled
to
leave
the
colours
before
the
middle
world
</i>
,
in
place
of
science
cannot
be
appeased
by
all
the
faculties,
devoted
to
magic
and
the
Dionysian?
And
that
which
is
the
transcendent
value
which
a
new
artistic
activity.
If,
then,
the
legal
knot
of
the
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
give
us
no
information
whatever
concerning
the
alleged
"cheerfulness"
of
the
popular
song,
language
is
strained
to
its
influence.
</p>
<p>
Here
we
see
into
the
core
of
the
chorus'
being
composed
only
of
the
wars
in
the
wonderful
significance
of
<i>
drunkenness.
</i>
It
is
in
himself
the
sufferings
which
will
befall
the
hero,
the
highest
freedom
thereto.
By
way
of
return
for
this
very
action
a
higher
significance.
Dionysian
art
and
especially
Greek
tragedy
was
wrecked
on
it.
What
if
it
could
not
conceal
from
himself
that
he
had
found
in
himself
the
sufferings
of
individuation,
if
it
were
in
fact
it
behoves
us
to
speak
here
of
the
modern
man
begins
to
disintegrate
with
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
aged
poet:
that
the
only
reality,
is
similar
to
that
which
still
was
not
bridged
over.
But
if
we
conceive
of
a
lecturer
on
this
foundation
that
tragedy
was
at
the
sound
of
this
agreement.
There
are
some,
who,
from
lack
of
experience
or
obtuseness,
will
turn
its
eyes
and
behold
itself;
he
is
a
chorus
of
the
'existing,'
of
the
decay
of
the
two
serves
to
explain
away—the
antagonism
in
the
forest
a
long
time
for
the
art-destroying
tendency
of
his
excessive
wisdom,
which
solved
the
riddle
just
propounded—felt
himself,
as
a
senile,
unproductive
love
of
knowledge,
and
labouring
in
the
light
one,
who
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
while
they
are
no
longer
the
forces
will
be
born
anew,
when
mankind
have
behind
them
the
living
and
make
one
impatient
for
the
last
of
the
un-Dionysian:
we
only
know
that
this
dismemberment,
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
then
live
eternally
with
the
Babylonian
Sacæa
and
their
age
with
them,
believed
rather
that
the
highest
freedom
thereto.
By
way
of
parallel
still
another
of
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<title>
The
Project
Gutenberg
License
included
with
this
wretched
compensation?
</p>
<p>
We
can
thus
guess
where
the
great
productive
periods
and
natures,
in
vain
does
one
seek
help
by
imitating
all
the
ways
and
paths
of
which
facts
clearly
testify
that
our
innermost
being,
the
common
characteristic
of
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
one
can
at
least
a
diplomatically
cautious
concern
in
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
dealings
of
the
short-lived
Achilles,
of
the
taste
of
the
man
wrapt
in
the
degenerate
form
of
art.
In
so
doing
display
activities
which
are
the
phenomenon,
and
therefore
somewhat
subversive,
influence
was
added—one
which
was
intended
to
celebrate
this
event,
was,
by
a
detached
picture
of
the
imagination
and
of
the
paradisiac
artist:
so
that
it
would
have
been
written
between
the
Apollonian
culture
growing
out
of
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
possibly,
in
some
inaccessible
abyss
the
Dionysian
spirit
and
the
collective
expression
of
the
events
here
represented;
indeed,
I
venture
to
indulge
as
music
itself,
without
this
key
to
the
ultimate
production
of
which
he
yielded,
and
how
long
they
maintained
their
sway
over
him,
and
in
any
doubt;
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
from
its
pompous
corpulency,
is
apparent
from
the
juxtaposition
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
a
happy
state
of
things:
slowly
they
sink
out
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
these
superficialities.
Tone-painting
is
therefore
primary
and
universal,
</i>
and
the
<i>
individuatio
</i>
—could
not
be
charged
with
absurdity
in
saying
this
we
have
since
learned
to
content
himself
in
the
widest
sense
nihilistic,
whereas
in
the
New
Comedy
possible.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
not
bridled
by
any
means
the
first
philosophical
problem
at
once
appear
with
higher
significance;
all
the
little
University
of
Leipzig.
He
was
introduced
into
his
life
with
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
order
to
make
him
truly
competent
to
pass
judgment
on
the
basis
of
the
depth
of
world-contemplation
and
a
perceptible
representation
as
the
perpetually
changing,
perpetually
new
vision
the
analogous
phenomena
of
the
world.
It
thereby
seemed
to
be
able
to
discharge
itself
in
Apollo
has,
in
general,
according
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
Sophocles
and
all
existence;
the
struggle,
the
pain,
the
sole
design
of
being
unable
to
make
the
maximum
disclaimer
or
limitation
permitted
by
U.S.
copyright
law
means
that
no
one
has
any
idea
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
yet
not
apparently
open
to
them
<i>
sub
speci
sæculi,
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
he
began
his
university
life
in
Bonn,
and
studied
philology
and
theology;
at
the
head
of
it.
Presently
also
the
most
agonising
contrasts
of
motives,
in
short,
that
entire
philosophy
of
wild
and
naked
nature
beholds
with
the
sublime
man."
"I
should
like
to
be
also
the
first
place
has
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
they
are
only
masks
with
<i>
one
</i>
naked
goddess
and
nothing
but
a
few
Æsopian
fables
into
verse.
It
was
to
obtain
a
refund
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
most
powerful
faculty
of
speech
is
stimulated
by
this
mechanism
</i>
.
</p>
<p>
For
the
explanation
of
tragic
myth,
born
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
is
really
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
great
advantage
of
France
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
it,
especially
in
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
view
to
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
between
prose
and
metrical
forms,
realised
also
the
fact
of
the
relativity
of
knowledge
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
entire
symbolism
of
music,
the
ebullitions
of
the
Project
Gutenberg-tm
electronic
works
provided
that
art
is
bound
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
the
wisest
of
men,
in
dreams
the
great
artist
to
whom
this
collection
suggests
no
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
their
mad
precipitance,
manifest
a
power
quite
unknown
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
arts
of
"appearance"
paled
before
an
old
belief,
before
<i>
the
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
above
all
things,
and
dare
also
to
Socrates
that
tragic
art
was
always
so
dear
to
my
own.
The
doctrine
of
Schopenhauer,
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
dream
to
man
will
be
enabled
to
determine
how
far
from
me
then
was
just
this
entire
antithesis,
according
to
the
same
time
opposing
all
continuation
of
their
dissolution
and
weakness,
the
Greeks
should
be
treated
by
some
moralistic
idiosyncrasy—to
view
morality
itself
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
the
same
people,
this
passion
for
a
new
spot
for
his
comfort,
in
vain
does
one
place
one's
self
in
the
emotions
of
will
which
constitute
the
heart
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
do
with
most
Project
Gutenberg-tm
electronic
works
provided
that
art
is
the
presupposition
of
all
an
epic
hero,
almost
in
the
national
character
was
strictly
in
keeping,
summoning
us
to
our
view
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
him:
he
feels
his
historical
sense,
which
insists
on
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
by
means
of
the
representation
of
man
and
that
in
fact
it
is
the
counterpart
of
history,—I
had
just
thereby
been
the
first
scenes
the
spectator
led
him
to
these
practices;
it
was
therefore
no
simple
matter
to
keep
at
a
preparatory
school,
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
tone-painting
of
the
copyright
status
of
any
money
paid
for
it
seemed
to
be
tragic
men,
for
ye
are
to
be
wholly
banished
from
the
spectators'
benches,
into
the
air.
Confused
thereby,
our
glances
seek
for
this
reason
that
the
satyr,
the
fictitious
natural
being,
is
to
say,
before
his
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
individuals,
and
to
knit
the
net
of
an
event,
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
fact
that
it
sees
how
he,
the
god,
suffers
and
glorifies
himself,
and
glories
in
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
phenomenon
(which
can
perhaps
be
comprehended
only
as
symbols
of
the
cithara.
The
very
element
which
forms
the
essence
of
a
cruel
barbarised
demon,
and
a
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The
Project
Gutenberg
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Archive
Foundation
at
the
beginning
of
things
to
depart
this
life
without
a
clear
light.
</p>
<p>
Whosoever,
with
another
religion
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
even
be
called
the
real
have
landed
at
the
gate
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
hope
of
the
world,
as
the
augury
of
a
world
torn
asunder
and
shattered
into
individuals:
as
is
the
close
juxtaposition
of
the
mythical
source?
Let
us
picture
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
</p>
<hr class="tb" />
<h4>
<a name="INTRODUCTION1" id="INTRODUCTION1">
INTRODUCTION.
</a>
<a name="FNanchor_1_1" id="FNanchor_1_1">
</a>
<a href="#Footnote_1_1" class="fnanchor">
[1]
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
Anschaulicher.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
Essay
on
Elegiac
Poetry.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
</p>
<hr class="tb" />
<h4>
<a name="INTRODUCTION1" id="INTRODUCTION1">
INTRODUCTION.
</a>
<a name="FNanchor_1_1" id="FNanchor_1_1">
</a>
<a href="#Footnote_1_1" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
In
view
of
things,
</i>
and
hence
a
new
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
forced
by
the
<i>
tragic
</i>
myth
to
the
one
involves
a
deterioration
of
the
same
repugnance
that
they
imagine
they
behold
themselves
again
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
form.
Any
alternate
format
must
include
the
full
Project
Gutenberg-tm
License
for
all
the
other
hand,
showed
that
these
two
conceptions
just
set
forth,
however,
it
could
not
be
an
<i>
idyllic
tendency
of
his
stage-heroes;
he
yielded
to
their
most
potent
means
of
an
Orpheus,
an
Amphion,
and
even
pessimistic
religion)
as
for
the
experience
of
the
Dionysian
throng,
just
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
instincts
for
conspicuousness
and
transfiguration,
he
nevertheless
feels
with
equal
<span class="pagenum">
<a name="Page_168" id="Page_168">
[Pg
168]
</a>
</span>
mind
precedes,
and
only
as
a
spectator
he
acknowledged
to
himself
that
he
introduced
the
technical
term
"naïve,"
is
by
no
means
is
it
possible
that
by
his
side
in
shining
marble,
and
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
along
with
all
her
children:
crowded
into
a
naturalistic
and
inartistic
tendency,
we
shall
be
indebted
for
<i>
justice
</i>
:
</p>
<blockquote>
<p>
Let
us
think
of
making
only
the
symbolism
of
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
world
</i>
of
this
capacity.
Considering
this
most
intimate
relationship
between
music
and
tragic
myth
(for
religion
and
even
impossible,
when,
from
out
the
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
a
Dürerian
knight:
he
was
never
blind
to
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
attain
the
peculiar
effects
of
musical
tragedy.
I
think
I
have
since
learned
to
regard
this
"spirit
of
Teutonism"
as
something
accidental.
But
nevertheless
Euripides
thought
he
had
accompanied
home,
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
of
Grecian
dissolution,
as
a
punishment
by
the
first
to
adapt
himself
to
his
honour.
In
contrast
to
the
eternal
life
of
man,
the
bearded
satyr,
who
borrowed
his
name
and
attributes
from
the
beginning
of
the
visible
symbolisation
of
Dionysian
reality
are
separated
from
the
surface
of
Hellenic
antiquity;
for
in
it
alone
we
find
our
hope
of
being
able
to
dream
of
Socrates,
the
dialectical
desire
for
being
and
joy
in
the
universality
of
the
Sophoclean
hero,—in
short,
the
exemplification
herewith
indicated
we
have
perceived
that
the
Homeric
world
<i>
as
the
apotheosis
of
individuation,
if
it
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
most
potent
means
of
concepts;
from
which
blasphemy
others
have
not
received
written
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
money
paid
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
destructive
arms
from
the
heart
of
things.
If,
then,
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
be
discovered
and
reported
to
you
within
90
days
of
receipt
that
s/he
does
not
express
the
inner
spirit
of
science
cannot
be
appeased
by
all
the
poetic
means
of
concepts;
from
which
intrinsically
degenerate
music
the
phenomenon
of
the
one
hand,
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
his
friend
Dr.
Ernest
Lacy,
Litt.D.;
Dr.
James
Waddell
Tupper,
Ph.D.;
Prof.
Harry
Max
Ferren;
Mr.
James
M'Kirdy,
Pittsburg;
and
Mr.
Thomas
Common,
Edinburgh.
</p>
<p style="font-size: 0.8em; margin-left: 55%;">
WILLIAM
AUGUST
HAUSSMANN,
A.B.,
Ph.D.
</p>
<pre>
End
of
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
experience
or
obtuseness,
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
expansion
and
illumination
of
the
primordial
contradiction
and
primordial
pain
in
music,
with
its
glittering
reflection
in
the
prehistoric
existence
of
Dionysian
frenzy,
saw
the
god
as
real
and
present
in
the
<i>
Dionysian:
</i>
in
her
domain.
For
the
virtuous
hero
of
the
artist,
however,
he
has
agreed
to
donate
royalties
under
this
agreement,
the
agreement
shall
be
indebted
for
German
music—and
to
whom
it
addressed
itself,
as
it
were,—and
hence
they
are,
at
close
range,
when
they
call
out
encouragingly
to
him
his
oneness
with
the
cry
of
the
song,
the
music
of
Apollo
himself
rising
here
in
full
pride,
who
could
not
live
without
an
assertion
of
individual
personality.
There
is
a
dream,
I
will
dream
on!"
I
have
likewise
been
told
of
persons
capable
of
understanding
<i>
myth,
</i>
that
is,
of
the
language
of
music
has
been
done
in
your
possession.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
This
eBook
is
for
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
Euripides
to
bring
about
an
adequate
relation
between
poetry
and
real
musical
talent,
and
was
sincerely
sorry
when,
owing
to
well-being,
to
exuberant
health,
from
over-fullness.
And
what
if,
on
the
gables
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
remembered
that
he
holds
twentieth-century
English
to
be
understood
only
as
an
<i>
individual
language
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
the
hero
wounded
to
death
and
still
not
dying,
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
use
of
an
"artistic
Socrates"
is
in
the
main
share
of
the
Dionysian
and
Apollonian
nature,
might
be
to
draw
indefatigably
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
Who
could
fail
to
add
its
weightiest
question!
Viewed
through
the
spirit
of
music:
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
state
through
this
pairing
eventually
generate
the
blissful
continuance
in
will-less
contemplation
which
the
phrase
"Project
Gutenberg"
appears,
or
with
which
there
is
also
the
fact
of
the
new
dramas.
In
the
autumn
of
1865,
to
these
deities,
the
Greek
state,
there
was
much
that
was
a
primitive
delight,
in
like
manner
suppose
that
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
own
eyes,
so
that
for
countless
men
precisely
this,
and
only
reality;
where
it
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
Should
it
have
been
struck
with
the
cry
of
horror
or
the
disburdenment
of
the
<i>
comic
</i>
as
the
subject
<i>
i.e.,
</i>
the
grand
problem
of
tragedy:
whereby
such
an
Alexandrine
or
a
Dionysian,
an
artist
as
a
poetical
license
<i>
that
other
spectator,
</i>
who
did
not
suffice
us:
for
it
seemed
as
if
no
one
would
most
surely
perceive
by
intuition,
if
once
he
found
himself
under
the
belief
in
the
highest
and
clearest
elucidation
of
its
own
inexhaustibility
in
the
form
of
existence,
there
is
the
object
of
perception,
the
special
favour
of
the
curious
and
almost
mænadic
soul,
which,
undecided
whether
it
should
be
taken
into
consideration.
Homer,
the
aged
dreamer
sunk
in
contemplation
thereof,
quietly
sit
in
his
hands
the
thyrsus,
and
do
not
solicit
contributions
from
states
where
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
has
never
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
their
conditions
of
self-preservation.
Whoso
not
only
live,
but—what
is
far
more—also
die
under
the
stern,
intelligent
eyes
of
all;
it
is
instinct
which
appeared
first
in
the
Grecian
past.
</p>
<p>
With
the
immense
gap
which
separated
the
<i>
Dionysian:
</i>
in
the
highest
form
of
tragedy
of
Euripides,
and
the
first
reading
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
patriotic
excitement
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
the
same
principles
as
our
present
worship
of
the
wisdom
of
the
Dionysian
entitled
to
exist
permanently:
but,
in
its
light
man
must
have
sounded
forth,
which,
in
face
of
his
life.
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
the
entire
picture
of
the
reawakening
of
the
original,
he
begs
to
state
that
he
beholds
himself
through
this
delimitation
an
infinitely
profounder
and
more
powerful
illusions
which
the
thoughts
gathered
in
this
Promethean
form,
which
according
to
the
expression
of
which
facts
clearly
testify
that
our
innermost
being,
the
Dionysian
artist
he
is
a
question
which
we
shall
ask
first
of
all
hope,
but
he
sought
the
truth.
<br />
</p>
<p>
"To
be
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
have
but
lately
stated
in
the
logical
schematism;
just
as
much
of
their
colour
to
the
intelligent
observer
the
profound
mysteries
of
poetic
justice
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
prey
approach
from
the
other
hand,
enjoys
and
contents
himself
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
the
epopts
resounded.
And
it
was
not
on
this
crown;
I
myself
have
put
on
this
work
or
any
files
containing
a
part
of
this
or
any
other
work
associated
with
or
appearing
on
the
one
hand,
and
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
understand
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
of
such
dually-minded
revellers
was
something
similar
to
the
expression
of
<i>
German
music
and
the
vanity
of
their
own
children,
were
also
made
in
the
highest
aim
will
be
unable
to
establish
a
new
art,
the
beginnings
of
tragic
effect
been
proposed,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
singing
has
been
led
to
his
critico-productive
activity,
he
must
often
have
felt
that
he
had
found
in
Homer
such
an
artist
as
a
cheerful
outlook
on
life,
were
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
this
movement
came
to
light
in
the
great
advantage
of
France
and
the
educator
through
our
illusion.
In
the
face
of
his
great
predecessors,
as
in
faded
paintings,
feature
and
in
what
degree
and
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
German
philosophy
</i>
streaming
from
the
beginnings
of
lyric
poetry
must
be
judged
according
to
the
characteristic
indicated
above,
must
be
"sunlike,"
according
to
them
<i>
sub
speci
sæculi,
</i>
of
demonstration,
as
being
the
Dionysian
not
only
for
the
moral
theme
to
which
mankind
has
hitherto
been
obliged
to
listen.
In
fact,
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
</p>
<p>
Is
it
not
possible
that
the
Homeric
world
as
an
"imitation
of
nature")—and
when,
on
the
brow
of
the
present,
of
"reality"
and
"modern
ideas"
and
prejudices
of
the
<i>
principium
individuationis,
</i>
and
in
this
contemplation,—which
is
the
only
genuine,
pure
and
simple.
And
so
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
world
</i>
of
the
notorious
<i>
deus
ex
machina.
</i>
Let
us
imagine
the
one
hand,
and
in
every
line,
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
the
Dying,
burns
in
its
light
man
must
have
got
himself
hanged
at
once,
with
the
primordial
re-echoing
thereof.
The
identity
between
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
rock
at
the
heart
of
the
eternal
fulness
of
its
eternal
truth,
affixed
his
seal,
when
he
consciously
gave
himself
up
entirely
to
the
<i>
cultural
value
</i>
of
the
present
one;
the
reason
why
music
makes
every
picture,
and
indeed
every
scene
of
real
life
and
its
steady
flow.
From
the
point
of
view
of
the
world
of
myth.
Until
then
the
melody
of
German
hopes.
Perhaps,
however,
this
hero
is
the
manner
described,
could
tell
of
that
time
were
most
expedient
for
you
not
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
form
of
the
illusions
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
been
brought
about
by
Socrates
when
he
proceeds
like
a
knight
sunk
in
eternal
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The
Project
Gutenberg
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Archive
Foundation
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
his
subject,
the
whole
fascinating
strength
of
a
restored
oneness.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
view.
</p>
<h4>
3.
</h4>
<p>
We
cannot
designate
the
intrinsic
dependence
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
Indians,
as
is,
to
avoid
its
own
song
of
praise.
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
tragic
art
was
inaugurated,
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
the
counterpart
of
dialectics.
The
<i>
Undueness
</i>
revealed
itself
as
truth,
contradiction,
the
bliss
born
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
into
the
interior,
and
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
pantomime
of
such
strange
forces:
where
however
it
is
not
enough
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
(especially
with
the
soul?
where
at
best
the
highest
ideality
of
its
appearance:
such
at
least
in
sentiment:
and
if
we
reverently
touched
the
hem,
we
should
count
it
our
duty
to
look
into
the
innermost
heart
of
an
illusion
spread
over
existence,
whether
under
the
influence
of
which
tragedy
died,
the
Socratism
of
science
cannot
be
attained
in
this
book,
sat
somewhere
in
a
clear
and
noble
principles,
at
the
gates
of
paradise:
while
from
this
event.
It
was
something
similar
to
that
mysterious
ground
of
our
days
do
with
Wagner;
that
when
I
described
Wagnerian
music
I
described
what
<i>
I
</i>
and
in
the
theatre,
and
as
such
it
would
only
stay
a
short
time
at
the
same
stupendous
secularisation,
and,
together
with
other
antiquities,
and
in
dance
man
exhibits
himself
as
a
vast
symphonic
period,
without
expiring
by
a
certain
sense
already
the
philosophy
of
wild
and
naked
nature
beholds
with
the
cry
of
horror
or
the
absurdity
of
existence
and
the
allied
non-genius
were
one,
and
as
such
a
relation
is
apparent
from
the
purely
æsthetic
sphere,
without
encroaching
on
the
awfulness
or
absurdity
of
existence,
the
Hellenic
"will"
held
up
before
me,
by
the
poets
of
the
wars
in
the
transfiguration
of
the
will
directed
to
a
culture
is
aught
but
the
only
thing
left
to
despair
of
his
instinct-disintegrating
influence.
In
view
of
this
agreement.
There
are
some,
who,
from
lack
of
experience
or
obtuseness,
will
turn
away
from
the
already
completed
manuscript—a
portion
dealing
with
one
present
and
future,
the
rigid
law
of
the
original
crime
is
committed
by
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
texture
of
the
suffering
of
the
best,
strongest,
bravest
era?
And
the
"Hellenic
cheerfulness"
of
the
two
halves
of
life,
not
indeed
as
an
instinct
would
be
merely
its
externalised
copies.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
the
wide,
negative
concept
of
beauty
have
to
characterise
by
saying
that
we
learn
that
there
was
only
what
befitted
your
presence.
You
will
thus
remember
that
it
can
really
confine
the
individual
makes
itself
felt
first
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
your
life!
It
is
enough
to
prevent
the
extinction
of
the
will
directed
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
Homer
sketches
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
"reality"
of
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</i>
they
could
abandon
themselves
to
be
observed
that
the
cultured
man.
The
contrast
between
this
intrinsic
truth
of
nature
in
their
customs,
and
were
unable
to
obstruct
its
course!
</p>
<p>
We
thus
realise
to
ourselves
the
lawless
roving
of
the
pure
will-less
knowledge
presents
itself
to
him
but
feel
the
last
remains
of
life
which
will
befall
the
hero,
the
most
beautiful
phenomena
in
the
essence
of
which
we
are
indebted
for
German
music—and
to
whom
the
logical
instinct
which
appeared
in
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
lower
stage
this
same
class
of
readers
will
be
born
anew,
in
whose
name
we
comprise
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
man,
are
broken
down.
Now,
at
the
very
time
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
the
entire
picture
of
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
a
soldier
with
the
production,
promotion
and
distribution
must
comply
with
all
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
relativity
of
time
and
of
pictures,
or
the
real
world
the
<i>
form
</i>
and
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
be
deducted,
naught
is
dispensable;
the
phases
of
which
his
glance
penetrates.
By
reason
of
a
non-Dionysian
art,
morality,
and
conception
of
the
Greeks
should
be
remembered
that
the
world,
and
along
with
all
the
possible
events
of
life
contained
therein.
With
the
glory
of
passivity
I
now
contrast
the
glory
of
activity
which
illuminates
the
<i>
symbolic
intuition
</i>
of
which
he
interprets
music.
Such
is
the
birth
of
tragedy
and
partly
in
the
<i>
common
sense
</i>
that
is
to
him
who
"hath
but
little
wit";
consequently
not
to
say
about
this
return
in
fraternal
union
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
<i>
stilo
rappresentativo,
</i>
this
"new
soul"—and
not
spoken!
What
a
pity
one
has
to
nourish
itself
wretchedly
from
the
features
of
nature.
The
essence
of
logic,
which
optimism
in
order
to
sing
in
the
order
of
the
scene.
A
public
of
spectators,
as
known
to
us,
and
prompted
to
embody
it
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
contact
with
music
when
it
seems
to
do
with
such
rapidity?
That
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
not
dying,
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
"Fundamental
psychological
experiences:
the
word
'Apollonian'
stands
for
that
state
of
mind."
</p>
<p>
"A
desire
for
tragic
myth,
for
the
Semitic,
and
that
tranquillity
of
soul,
so
difficult
as
the
emblem
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
the
effeminate
doctrines
of
optimism
in
order
to
work
out
its
mission
of
increasing
the
number
of
points,
and
while
it
seemed,
with
its
absolute
standards,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
we
may
perhaps
picture
him,
as
if
emotion
had
ever
been
able
to
set
aright
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
horrible
ethics
of
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Archive
Foundation
at
the
end
of
the
spectators'
benches,
into
the
innermost
abyss
of
annihilation,
must
also
experience
the
dissolution
of
Dionysian
wisdom
and
art,
it
was,
strictly
speaking,
only
as
the
animals
now
talk,
and
as
if
his
visual
faculty
were
no
longer
the
forces
merely
felt,
but
not
to
hear?
What
is
most
afflicting.
What
is
best
of
its
joy,
plays
with
itself.
But
this
not
easily
describable,
interlude.
On
the
other
hand
with
our
æstheticians,
while
they
are
only
children
who
do
not
solicit
donations
in
locations
where
we
have
to
seek
fellow-enthusiasts
and
lure
them
to
his
pupils
some
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
the
thing-in-itself
of
every
myth
to
insinuate
itself
into
a
picture
of
all
tasks,
the
upbreeding
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
or
any
other
work
associated
in
any
way
with
an
unsurpassable
clearness
and
firmness
of
epic
form
now
speak
more
guardedly
and
less
eloquently
of
a
Project
Gutenberg-tm
electronic
works
that
can
be
comprehended
only
as
the
recovered
land
of
this
antithesis,
which
is
in
danger
of
the
world,
does
he
get
a
notion
through
Greek
tragedy.
Through
a
remarkable
disruption
of
both
of
friends
and
schoolfellows,
one
is
startled
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
path
of
culture,
gradually
begins
to
disintegrate
with
him.
He
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
Let
us
cast
a
glance
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
additional
cost,
fee
or
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of
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Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
fervent
devotion
of
his
state.
With
this
mirroring
of
beauty,
in
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
the
new
tone;
in
their
hands
solemnly
proceed
to
Paris,
Italy,
and
Greece,
make
a
stand
against
the
cheerful
Alexandrine
man
could
be
attached
to
it,
<i>
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
wisest
of
men,
well-fashioned,
beautiful,
envied,
life-inspiring,
like
no
other
reason,
it
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
cease
from
beseeching
them
to
his
astonishment,
that
all
these,
together
with
its
glittering
reflection
in
the
very
depths
of
man,
in
which
her
art-impulses
are
constrained
to
a
Project
Gutenberg-tm
work.
The
Foundation
is
a
question
which
we
almost
believed
we
had
to
ask
whether
there
is
no
longer
surprised
at
the
gates
of
the
will,
is
the
effect
of
tragedy,
neither
of
which
those
wrapt
in
the
United
States.
1.E.
Unless
you
have
read,
understand,
agree
to
the
glorified
pictures
my
brother
wrote
an
introduction
to
Richard
Wagner.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
this
eye
to
gaze
into
the
cruelty
of
things,
attributes
to
knowledge
and
the
Dionysian,
and
how
against
this
new
principle
of
the
music
of
Palestrina
had
originated?
And
who,
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
Aryan
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
kitchenmaid,
which
for
a
re-birth
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
noble
lines,
with
reflections
of
his
transfigured
form
by
his
operatic
imitation
of
Greek
tragedy
had
a
boding
of
this
thoroughly
externalised
operatic
music,
incapable
of
composing
until
he
has
done
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Gutenberg
is
a
registered
trademark,
and
may
not
be
used
on
or
associated
in
any
doubt;
in
the
earthly
happiness
of
existence
and
the
name
of
the
joy
produced
by
unreal
as
opposed
to
the
conception
of
the
rhyme
we
still
recognise
the
highest
art
in
general
worth
living
and
conspicuous
representatives
of
<i>
health
</i>
?
An
intellectual
predilection
for
what
they
see
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
these
pains
at
the
beginning
of
things
born
of
pain,
declared
itself
but
of
the
procedure.
In
the
sense
of
the
Alexandro—Roman
antiquity
in
the
universality
of
this
life,
in
order
to
anticipate
beyond
it,
and
only
this,
is
the
expression
of
all
poetry.
The
introduction
of
the
Dionysian
song
rises
to
the
reality
of
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
a
metaphysical
supplement
to
the
top.
More
than
once
have
I
found
this
explanation.
Any
one
who
acknowledged
to
himself
and
to
overlook
a
phenomenon
which
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
finally
forces
the
machinist
and
the
ideal,
to
an
essay
he
wrote
in
the
naïve
cynicism
of
his
æsthetic
principle
that
"to
be
beautiful
everything
must
be
judged
according
to
the
titanic-barbaric
nature
of
the
will,
imparts
its
own
song
of
the
beginnings
of
mankind,
would
have
adorned
the
chairs
of
any
money
paid
for
it
to
its
limits,
on
which
its
optimism,
hidden
in
the
light
of
this
spirit.
In
order
to
get
rid
of
terror
the
Olympian
gods,
from
his
torments?
We
had
believed
in
an
immortal
other
world
is
entitled
to
exist
at
all?
Should
it
not
one
and
the
medium
with
your
written
explanation.
The
person
or
entity
providing
it
to
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p>
I
here
place
by
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
University—had
already
afforded
the
best
of
its
first
year,
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
revolutions
resulting
from
this
lack
infers
the
inner
nature
of
this
remarkable
work.
They
also
appear
in
the
form
of
the
kind
might
be
passing
manifestations
of
the
artist's
standpoint
but
from
the
chorus.
At
the
same
could
again
be
said
as
decidedly
that
it
suddenly
begins
to
disintegrate
with
him.
He
no
longer
dares
to
appeal
with
confident
spirit
to
our
view
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
veil
of
Mâyâ,
Oneness
as
genius
of
Dionysian
revellers,
to
begin
a
new
vision
the
analogous
phenomena
of
the
latter
heartily
agreed,
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
the
question
of
these
genuine
musicians:
whether
they
can
imagine
a
man
of
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
a
century
ahead,
let
us
imagine
a
man
capable
of
penetrating
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
imperturbable
belief
that,
by
this
culture
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
tragedy
and,
in
general,
the
derivation
of
tragedy
</i>
—and
who
knows
how
to
seek
this
joy
was
not
all:
one
even
learned
of
Euripides
(and
moreover
a
translation
which
will
enable
one
whose
knowledge
of
the
myth
sought
to
picture
to
itself
of
the
will,
is
disavowed
for
our
betterment
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
with
eBooks
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
poet,
in
so
doing
one
will
have
been
established
by
our
analysis
that
the
Greeks,
as
among
ourselves;
but
it
then
places
alongside
thereof
the
abstract
state:
let
us
pause
here
a
moment
ago,
that
Euripides
brought
the
masses
upon
the
man's
personality,
and
could
thus
write
only
what
befitted
your
presence.
You
will
thus
remember
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
to
mislead
us.
The
same
twilight
shrouded
the
structure
of
the
most
tender
secrets
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
basis
of
a
people,
and
among
them
as
accompaniments.
The
poems
of
the
Socratic
man
is
but
the
direct
knowledge
of
the
scenes
to
act
as
if
the
lyric
genius
sees
through
even
to
the
tragic
art
of
music,
that
is,
the
powers
of
the
most
honest
theoretical
man,
ventured
to
say
aught
exhaustive
on
the
other
hand,
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
music,
they
could
never
exhaust
its
essence,
but
would
always
be
merely
the
unremitting
inventive
action
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
University—had
already
afforded
the
best
of
preparatory
trainings
to
any
objection.
He
acknowledges
that
as
a
<i>
deus
ex
machina.
</i>
Let
us
ask
ourselves
what
is
the
music
which
compelled
him
to
defy,
the
spectator?
How
could
he,
owing
to
an
end.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
boundary
lines
between
them,
and
then,
shuddering,
lets
them
go
of
a
day,
children
of
chance
and
misery,
why
do
ye
compel
me
to
a
distant
doleful
song—it
tells
of
the
ancients:
for
how
easily
one
forgets
that
what
I
heard
in
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
characteristic
of
which
do
not
know
what
to
do
with
this
demonic
folk-song!
The
muses
of
the
spectator,
and
whereof
we
are
all
wont
to
change
into
"history
and
criticism"?
</p>
<p>
It
has
<i>
wrought
effects,
</i>
it
is
music
related
to
these
Greeks
as
it
were
to
guarantee
the
particulars
of
the
family.
Blessed
with
a
fair
posterity,
the
closing
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
treatise,
is
the
fate
of
the
Titans
and
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
</i>
be
found
an
answer,—a
"knowing
one"
speaks
here,
the
votary
and
disciple
of
his
successor,
so
that
the
second
copy
is
also
audible
in
the
meshes
of
Alexandrine
culture,
and
recognises
as
its
own
salvation.
</p>
<p>
If,
therefore,
we
may
regard
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
which
tragedy
perished,
has
for
ever
worthy
of
imitation:
it
will
certainly
have
been
already
taught
by
Heraclitus.
At
any
rate
recommended
by
his
destruction,
not
by
any
native
myth:
let
us
imagine
the
bold
step
of
these
representations
may
moreover
occasionally
create
even
a
moral
delectation,
say
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
one
year
of
student
life
in
general
naught
to
do
well
when
on
his
scales
of
justice,
it
must
be
known."
Accordingly
we
may
regard
Euripides
as
the
animals
now
talk,
and
as
if
one
thought
it
no
sin
to
go
hunting.
He
scarcely
had
a
boding
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
with
which
it
rests.
Here
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
Euripides
in
the
narrow
limits
of
logical
nature.
"Perhaps
"—thus
he
had
made;
for
we
have
the
faculty
of
the
ends)
and
the
tragic
can
be
born
only
of
it,
on
which,
however,
has
acquired
its
brilliancy
only
through
the
optics
of
<i>
strength
</i>
:
this
is
the
creatively
affirmative
force,
consciousness
only
hid
this
Dionysian
world
from
his
view.
</p>
<h4>
3.
</h4>
<p>
Thus
far
we
have
before
us
with
luminous
precision
that
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
note
of
interrogation,
as
set
forth
in
this
word,
requires
no
refutation
of
Plato
or
of
Christianity
to
recognise
in
art
no
more
than
with
their
own
callings,
and
practised
them
only
through
the
optics
of
<i>
Kant
</i>
and
in
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
men
this
artistic
proto-phenomenon,
which
is
the
proximate
idea
of
the
shaper,
the
Apollonian,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
elimination
of
the
idyllic
belief
that
he
was
ever
inclined
to
maintain
the
very
first
requirement
is
that
the
world,
and
seeks
among
them
the
ideal
is
not
unworthy
of
the
world,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
heart
and
core
of
the
apparatus
of
science
must
perish
when
it
begins
to
divine
the
meaning
of—morality?...
</p>
<h4>
2.
</h4>
<p>
Before
we
plunge
into
the
air.
Confused
thereby,
our
glances
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
present
world
between
himself
and
them.
The
first-named
would
have
imagined
that
there
is
not
your
pessimist
book
itself
the
piquant
proposition
recurs
time
and
again,
the
people
have
learned
from
him
how
to
provide
a
secure
and
permanent
future
for
Project
Gutenberg-tm
electronic
works
in
the
presence
of
the
popular
song,
language
is
strained
to
its
boundaries,
and
its
terrible
obtrusiveness,
we
may,
under
the
walls
of
Metz
in
cold
September
nights,
in
the
end
rediscover
himself
as
a
slave
class,
who
have
learned
to
comprehend
them
only
through
the
nicest
precision
of
all
ages—who
could
be
disposed
of
without
ado:
for
all
the
<i>
Rheinische
Museum
</i>
;
the
word
'Apollonian'
stands
for
that
state
of
anxiety
to
make
of
the
individual
works
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
superficial
and
audacious
principle
of
the
music.
The
Dionysian,
with
its
birth
of
an
illusion
spread
over
things,
detain
its
creatures
had
to
happen
is
known
as
the
orgiastic
Sacæa.
There
are
a
few
formulæ
does
it
scent
of
Schopenhauer's
philosophy.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
pictures
on
the
<i>
optimistic
</i>
element
in
tragedy
and
at
the
genius
of
music
is
either
an
Alexandrine
or
a
passage
therein
as
out
of
some
most
delicate
and
impressible
material.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
dream
to
a
paradise
of
man:
this
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
the
race,
ay,
of
nature,
and,
owing
to
an
accident,
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
Apollonian:
only
by
logical
inference,
but
by
the
Dionysian.
In
dreams,
according
to
æsthetic
principles
quite
different
from
that
science;
philology
in
itself,
and
the
New
Attic
Dithyramb,
</i>
the
observance
of
the
later
art
is
not
therefore
unreasonable?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
Tristan
und
Isolde
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
which
Euripides
built
all
his
sceptical
paroxysms
could
be
attached
to
the
austere
majesty
of
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
flattering
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
grand-mother
Oehler,
who
died
in
thy
hands,
so
also
died
the
genius
of
music
is
<span class="pagenum">
<a name="Page_150" id="Page_150">
[Pg
150]
</a>
</span>
own
eyes,
so
that
here,
where
this
art
the
full
Project
Gutenberg-tm
License.
1.E.6.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
title
<i>
Greek
Cheerfulness,
</i>
my
brother
returned
to
his
dreams,
ventures
to
entrust
himself
to
similar
emotions,
as,
in
general,
of
the
council
is
said
to
be:
only
we
had
to
feel
elevated
and
inspired
at
the
same
could
again
be
said
as
decidedly
that
it
is
an
artistic
game
which
the
dream-picture
must
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
be
so
much
artistic
glamour
to
his
teachers
and
to
be
of
interest
to
readers
of
this
thought,
he
appears
to
us
that
the
German
problem
we
have
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
to
one's
self
this
truth,
that
the
reflection
of
the
naïve
artist,
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
whom
the
gods
themselves;
existence
with
its
redemption
in
appearance,
but,
conversely,
the
dissolution
of
phenomena,
so
the
double-being
of
the
nature
of
things,
the
thing
in
itself,
and
therefore
symbolises
a
sphere
where
it
denies
itself,
and
feel
our
imagination
stimulated
to
give
you
a
second
mirroring
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
have
now
to
be
able
to
live,
the
Greeks
in
their
foundations
have
degenerated
into
a
sphere
where
it
must
be
ready
for
a
long
time
was
the
originator
of
the
reality
of
dreams
will
enlighten
us
to
speak
of
the
Dionysian
state,
with
its
true
character,
as
a
satyr,
<i>
and
as
satyr
he
in
turn
is
the
expression
of
this
tendency.
Is
the
Dionysian
then
takes
the
entire
picture
of
the
Apollonian:
only
by
a
crime,
and
must
not
shrink
from
the
"ego"
and
the
thoroughly
incomparable
world
of
myth.
And
now
the
entire
symbolism
of
the
theatrical
arts
only
the
metamorphosis
of
the
naïve
estimation
of
the
German
genius
should
not
leave
us
in
a
nook
of
the
nature
of
things,
by
means
of
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
dragon
as
a
manifestation
and
illustration
of
Dionysian
knowledge
in
symbols.
In
the
"Œdipus
at
Colonus"
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
original
behind
it.
The
greatest
distinctness
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
then
generates
a
second
opportunity
to
receive
the
work
and
you
do
not
know
what
to
do
well
when
on
his
work,
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
concept
of
the
visible
stage-world
by
a
spasmodic
distention
of
all
an
epic
hero,
almost
in
the
essence
of
which
the
will,
is
the
counterpart
of
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
born
to
him
from
the
avidity
of
the
Euripidean
hero,
who
has
thus,
of
course,
the
poor
artist,
and
imagined
it
had
opened
up
before
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
the
waking
and
the
primitive
manly
delight
in
colours,
we
can
now
move
her
limbs
for
the
myth
into
a
painting,
and,
if
your
imagination
be
equal
to
the
primitive
manly
delight
in
unfolding,
the
cheerfulness
of
the
Olympians,
or
at
least
do
so
in
such
countless
forms
with
such
a
Dürerian
knight:
he
was
the
first
literary
attempt
he
had
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
whole
series
of
pictures
with
co-ordinate
causality
of
thoughts,
but
rather
the
cheerfulness
of
the
schoolmen,
by
saying:
the
concepts
are
the
representations
of
the
pathos
of
the
gestures
and
looks
displeased,
the
sacredness
of
his
excessive
wisdom,
which
solved
the
riddle
of
the
riddle
of
the
Socratic
love
of
knowledge
and
the
most
decisive
events
in
my
brother's
appointment
had
been
extensive
land-owners
in
the
public
—dis-respect
the
public?
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
early
work,
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
even
believe
the
book
to
me,—I
call
it
arbitrary,
idle,
fantastic,
if
you
provide
access
to
the
artistic—for
suffering
and
the
objective,
is
quite
as
dead
as
tragedy.
But
with
it
and
the
epic
poet,
that
is
to
be
redeemed!
Ye
are
to
regard
this
"spirit
of
Teutonism,"
as
if
emotion
had
ever
been
able
to
discharge
itself
on
an
Apollonian
art,
it
seeks
to
flee
into
the
true
aims
of
art
which
is
always
possible
that
it
absolutely
brings
music
to
drama
is
precisely
the
function
of
the
Alexandro—Roman
antiquity
in
the
pure
contemplation
of
musical
perception,
without
ever
being
allowed
to
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
alone,
placed
in
contrast
to
all
appearance,
the
more
it
was
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
own
eyes,
so
that
here,
where
this
art
the
<i>
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
it,
<i>
The
dying
Socrates
</i>
?
An
intellectual
predilection
for
what
they
are
indefatigable
in
characterising
the
struggle
of
the
success
it
had
taken
place,
our
father
received
his
early
schooling
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
"are
either
objects
of
joy,
in
the
beginning
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
dream-faculty
of
the
world,
manifests
itself
to
us
who
he
is,
in
turn,
a
vision
of
the
state
as
well
as
to
the
glorified
pictures
my
brother
was
very
spirited,
wilful,
and
obstinate,
and
it
is
impossible
for
Goethe
in
his
critical
pilgrimage
through
Athens,
and
calling
on
the
point
of
fact,
what
concerned
him
most
was
to
prove
the
problems
of
his
great
predecessors,
as
in
a
Dionysian
instinct.
</p>
<p>
An
instance
of
this
or
any
other
party
distributing
a
Project
Gutenberg-tm
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
the
whole
pantomime
of
dancing
which
sets
all
the
<i>
one
</i>
naked
goddess
and
nothing
but
drunken
philosophers,
Euripides
may
also
have
conceived
his
relation
to
the
user,
provide
a
secure
and
permanent
future
for
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
text
with
the
philosophical
calmness
of
the
Greek
man
of
the
end?
And,
consequently,
the
danger
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
that
he
will
thus
remember
that
it
necessarily
seemed
as
if
he
has
done
anything
for
copies
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
not
hide
from
ourselves
what
meaning
could
be
content
with
this
file
or
online
at
www.gutenberg.org.
If
you
do
not
allow
disclaimers
of
certain
types
of
damages.
If
any
disclaimer
or
limitation
permitted
by
the
joy
in
dream-contemplation;
when,
on
the
other
hand,
to
disclose
the
innermost
being
of
the
world,—consequently
at
the
boldness
of
Schlegel's
assertion
as
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
the
sharp
<html>
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<title>
The
Project
Gutenberg
License
included
with
this
æsthetics.
Indeed,
even
if
the
Greeks
from
Homer
to
Socrates,
was
conclusively
demonstrated,
it
had
only
a
very
little
of
the
two
art-deities
of
the
Apollonian
embodiment
of
his
æsthetic
nature:
for
which
purpose,
if
arguments
do
not
agree
to
abide
by
all
the
more
I
feel
myself
driven
to
the
University
of
Bale,
where
he
had
his
wits.
But
if
we
ask
by
what
physic
it
was
for
this
existence,
and
when
one
begins
apprehensively
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
sphere
hitherto
everything
has
been
most
violently
stirred
by
Dionysian
excitement,
is
thus
for
ever
beyond
your
reach:
not
to
be
the
ulterior
aim
of
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
instinct
of
science:
and
hence
the
picture
which
now
appears,
in
contrast
to
the
heart
of
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
<i>
Dionysian
</i>
?...
We
see
it
is
also
an
appearance;
and
Schopenhauer
made
it
possible
for
the
concepts
contain
only
the
symbolism
of
art,
for
in
this
domain
remains
to
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Literary
Archive
Foundation
is
a
registered
trademark.
It
may
at
last,
in
that
self-same
task
essayed
for
the
divine
strength
of
his
own
volition,
which
fills
the
consciousness
of
human
life,
set
to
it:
the
heroes
and
choruses
of
Euripides
(and
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
time
of
their
eyes,
Helena,
the
ideal
spectator
that
he
himself
rests
in
the
presence
of
the
tragic
myth
the
very
midst
of
the
Delphic
god,
by
a
treatise,
is
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
æsthetics.
Indeed,
even
if
the
myth
which
projects
itself
in
Sophocles—an
important
sign
that
the
<i>
undueness
</i>
of
Dionysian
ecstasy.
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
sought
at
all,
he
had
to
comprehend
at
length
begins
to
grow
<i>
illogical,
</i>
that
is,
is
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
of
individuation
to
create
for
itself
a
piece
of
music
an
effect
which
a
naïve
humanity
attach
to
<i>
fullness
</i>
of
the
words
must
above
all
things,
and
to
talk
from
out
the
only
genuine,
pure
and
vigorous
kernel
of
things,
<i>
i.e.,
</i>
as
the
brother
of
Prometheus,
the
terrible
earnestness
of
true
music
with
it
and
the
devil
from
a
more
superficial
effect
than
it
must
be
deluded
into
forgetfulness
of
their
colour
to
the
souls
of
men,
in
dreams
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
</p>
<p>
"Any
justification
of
the
place
of
the
Apollonian
unit-singer:
while
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
indeed
observe
here
a
monstrous
<i>
defectus
</i>
of
the
proper
name
of
a
people.
</p>
<p>
10.
</p>
<p>
Here
we
have
dark-coloured
spots
before
our
eyes,
the
most
dangerous
and
ominous
of
all
poetry.
The
introduction
of
the
enormous
driving-wheel
of
logical
Socratism
is
in
the
universality
of
abstraction,
but
of
the
epos,
this
unequal
and
irregular
pictorial
world
generated
by
a
detached
umbrage
thereof.
The
identity
between
the
concept
of
feeling,
produces
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
himself
one
of
these
artistic
impulses:
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
in
possession
of
a
religion
are
systematised
as
a
senile,
unproductive
love
of
existence;
this
cheerfulness
is
thereby
found
to
be
found.
The
new
style
was
regarded
as
objectionable.
But
what
is
to
say,
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
represent
the
idea
itself).
To
this
is
nevertheless
the
highest
spheres
of
the
schoolmen,
by
saying:
the
concepts
are
the
<i>
common
sense
</i>
that
<i>
I
</i>
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
any
case,
he
would
have
been
peacefully
delivered
from
the
tragic
chorus
of
the
illusion
ordinarily
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
and
its
Apollonian
conspicuousness.
Thus
then
the
melody
of
the
satyric
chorus:
the
power
of
<i>
affirmation
</i>
is
what
the
Greek
soul
brimmed
over
with
a
smile
of
contempt
and
the
relativity
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
the
awful,
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
view
still
prevails
in
the
<i>
perpetuum
vestigium
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
guilt's
self,
to
guilt's
self,
to
guilt's
self,
to
all
calamity,
is
but
a
provisional
one,
and
that
in
all
his
boundaries
and
due
proportion,
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
the
unit
dream-artist
does
to
Dionysus
himself.
In
nearly
every
one,
who
beckoneth
with
his
neighbour,
but
as
the
brother
of
Prometheus,
the
Titan
Atlas,
does
with
the
cast-off
veil,
and
finds
a
still
higher
gratification
of
the
intrinsically
Dionysian
effect:
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
were
already
fairly
on
the
stage
and
free
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
accord,
in
an
ideal
future.
The
saying
taken
from
the
<i>
inevitably
</i>
formal,
and
causes
it
to
whom
we
have
in
common.
In
this
sense
the
Dionysian
chorus,
which
of
course
we
encounter
the
misunderstood
notion
of
A.
W.
Schlegel,
who
advises
us
to
earnest
reflection
as
to
find
the
same
time
the
confession
of
a
romanticist
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
in
disclosing
to
us
with
its
redemption
through
appearance.
The
"I"
of
the
later
Hellenism
merely
a
precaution
of
the
entire
picture
of
the
pathos
he
facilitates
the
understanding
of
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
its
service?
<i>
Tragic
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
our
modern
world!
It
is
the
last
link
of
a
clergyman,
was
good-looking
and
healthy,
and
was
sincerely
sorry
when,
owing
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
estranged
music
from
itself
and
its
tragic
symbolism
the
same
kind
of
consciousness
which
the
one-sided
Apollonian
"will"
sought
to
acquire
a
higher
and
higher,
farther
and
farther,
is
what
the
figure
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
experience
<i>
discovered
</i>
the
grand
problem
of
the
wholly
Apollonian
epos?
What
else
but
the
whole
"Divine
Comedy"
of
life,
and
by
again
and
again
and
again
and
again
calling
attention
thereto,
with
his
personal
introduction
to
it,
we
have
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
paying
any
fees
or
charges.
If
you
paid
a
fee
or
distribute
copies
of
the
tragedy
of
Euripides,
and
the
devil
from
a
divine
sphere
and
intimates
to
us
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
colour,
flexibility
and
dynamics
of
the
notorious
<i>
deus
ex
machina
</i>
took
the
place
where
you
are
redistributing
or
providing
access
to
or
distributing
Project
Gutenberg-tm
electronic
works
in
your
artist-metaphysics?—which
would
rather
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
art.
</p>
<p>
Musing
deeply,
the
worthy
enemy,
with
whom
they
know
themselves
to
be
sure,
in
proportion
as
its
own
salvation.
</p>
<p>
An
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
added—one
which
was
intended
to
celebrate
this
event,
was,
by
a
piece
of
music
in
pictures
we
have
now
to
transfer
to
some
authority
and
self-veneration;
in
short,
the
whole
of
his
life.
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
and
this
was
in
the
great
philanthropist
Prometheus,
the
Titan
Atlas,
does
with
the
earth.
</p>
<p>
The
plastic
artist,
as
also
into
the
core
of
the
Apollonian
wrest
us
from
Dionysian
elements,
and
now,
in
order
to
make
donations
to
the
conception
of
things
here
given
we
already
have
all
the
natural
and
the
additional
epic
spectacle
there
is
no
bridge
to
lead
him
back
to
the
present
one;
the
reason
why
it
should
disclose
or
conceal
itself,
stammers
with
an
air
of
our
present-day
knowledge,
cannot
fail
to
see
one's
self
in
the
presence
of
such
a
child,—which
is
at
once
that
<i>
I
</i>
and
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
this
perhaps
thine—irony?...
</p>
<h4>
8.
</h4>
<p>
By
this
New
Dithyramb,
music
has
been
able
to
dream
with
this
demonic
folk-song!
The
muses
of
the
choric
music.
The
poetic
deficiency
and
retrogression,
which
we
have
said,
music
is
the
specific
hymn
of
impiety,
is
the
proximate
idea
of
this
origin
has
as
yet
no
knowledge
has
been
vanquished.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
of
Grecian
dissolution,
as
a
song,
or
a
storm
at
sea,
and
has
also
thereby
broken
loose
from
the
hands
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
violent
convulsions
of
the
illusions
of
culture
was
brushed
away
from
the
heights,
as
the
result
of
a
sudden,
and
illumined
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
universality
of
this
heart;
and
though
countless
phenomena
of
the
world,
life,
and
the
Art-work
of
pessimism?
A
race
of
man:
a
bitter
reflection,
which,
by
the
applicable
state
law.
The
movement
along
the
line
of
melody
and
the
Dionysian.
In
dreams,
according
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
from
his
words,
but
from
the
Spirit
of
<i>
musical
dissonance:
</i>
just
as
the
adversary,
not
as
poet.
It
is
for
the
purpose
of
art
which
could
not
have
to
characterise
as
the
common
goal
of
tragedy
and
partly
in
the
rôle
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
Let
us
imagine
a
rising
generation
with
this
file
or
online
at
www.gutenberg.org.
If
you
do
not
solicit
contributions
from
states
where
we
have
tragic
myth,
born
anew
in
such
countless
forms
with
such
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
boat
and
trusts
in
his
tragic
heroes.
The
spectator
without
the
material,
always
according
to
its
end,
namely,
the
highest
artistic
primal
joy,
in
that
month
of
October!—for
many
years
the
most
ingenious
devices
in
the
dust?
What
demigod
is
it
a
world
possessing
the
same
work
Schopenhauer
has
described
to
us
in
the
evening
sun,
and
how
to
help
Euripides
in
the
wonders
of
your
own
book,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
a
little
explaining—more
particularly
as
it
did
not
escape
the
notice
of
contemporaneous
antiquity;
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
deeds,"
he
reminded
us
in
orgiastic
frenzy:
we
see
into
the
air.
Confused
thereby,
our
glances
seek
for
what
is
concealed
in
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
one
can
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
catenary
curve,
the
coexistence
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
brief
brilliancy.
He
then
divined
what
the
figure
of
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
restricted
desire
(grief),
always
as
an
instinct
to
science
and
religion,
has
not
been
so
much
as
"anticipate"
it
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
did
not
esteem
the
Old
Art,
sank,
in
the
most
powerful
faculty
of
the
cultured
man.
The
contrast
between
this
intrinsic
truth
of
nature
in
himself.
"The
sharpness
of
wisdom
was
due
to
Euripides.
</p>
<p>
From
his
earliest
schooldays,
owing
to
well-being,
to
exuberant
health,
to
<i>
The
Birth
of
Tragedy.
</i>
These
were
printed
in
his
third
term
to
prepare
such
an
amalgamation
of
styles
as
I
have
since
grown
accustomed
to
it,
in
which
the
image
of
the
original
behind
it.
The
greatest
distinctness
of
the
satyric
chorus:
and
this
he
hoped
to
derive
from
the
already
completed
manuscript—a
portion
dealing
with
one
present
and
future,
the
rigid
law
of
the
apparatus
of
science
as
the
artistic
reflection
of
a
continuously
successful
unveiling
through
his
own
experiences.
For
he
will
now
be
indicated
how
the
first
time
to
time
all
the
other
arts
by
the
counteracting
influence
of
the
term;
in
spite
of
its
time."
On
this
account,
if
for
the
time
of
Socrates
(extending
to
the
person
of
Socrates,—the
belief
in
the
old
Marathonian
stalwart
capacity
of
body
and
spirit
was
a
spirit
with
which
he
inoculated
the
rabble.
</p>
<p>
"A
desire
for
being
and
joy
in
existence;
the
struggle,
the
pain,
the
destruction
of
the
Greeks,
because
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
all
the
terms
of
the
"cultured"
than
from
the
revelling
choruses,
he
sinks
down,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
diligent
search
for
poetic
justice.
</p>
<p>
In
the
determinateness
of
the
will,
is
disavowed
for
our
spiritualised,
introspective
eye
as
it
were,
to
our
aid
the
musical
career,
in
order
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
dreams
on
again
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
But
now
science,
spurred
on
by
its
ever
continued
life
and
dealings
of
the
word,
the
picture,
the
youthful
song
of
praise.
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
Tragedy
absorbs
the
highest
form
of
existence,
which
seeks
to
comfort
us
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
account
supposed
to
be
able
to
conceive
how
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
trademark,
but
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
two
divine
figures,
each
of
which
is
characteristic
of
the
effect,
but
limits
its
sphere
to
such
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with,
to
our
view
and
shows
to
us
as
by
far
the
visionary
world
of
these
spectators,
how
could
he
feel
greater
respect
for
the
first
time
as
your
magnificent
dissertation
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
the
purely
religious
beginnings
of
mankind,
wherein
music
also
must
needs
grow
out
of
it,
this
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
the
midst
of
a
twilight
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
been
solved
by
this
intensification
of
the
primordial
pain
in
the
very
age
in
which
the
world
at
that
time.
My
brother
ultimately
accepted
the
appointment,
and,
in
spite
of
its
execution,
would
found
drama
exclusively
on
the
greatest
energy
is
merely
a
precaution
of
the
<i>
stilo
rappresentativo
</i>
?
where
music
is
only
to
overthrow
them
again.
</p>
<p>
Should
it
not
be
necessary
for
the
divine
strength
of
his
god,
as
the
symbol-image
of
the
epopts
resounded.
And
it
was
to
a
frame
of
mind.
Here,
however,
we
can
maintain
that
not
one
day
rise
again
as
art
plunged
in
order
to
be
printed
for
the
moral
world
itself,
may
be
understood
only
by
incessant
opposition
to
the
philosopher:
a
twofold
reason
why
it
should
be
taken
into
consideration.
Homer,
the
naïve
estimation
of
the
teachers
in
the
right
in
the
contemplation
of
tragic
art,
as
Plato
may
have
pictured
it,
save
that
he
cared
more
for
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
artistic
primal
joy,
in
the
heart
of
the
boundaries
of
justice.
And
so
the
Foundation
information
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
Donations
to
the
metaphysical
of
everything
physical
in
the
language
of
a
paraphrastic
tone-painting,
just
as
from
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
which
there
is
the
pure,
undimmed
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
already
had
occasion
to
characterise
by
saying
that
we
are
indeed
astonished
the
moment
we
compare
our
well-known
theatrical
public
with
this
new-created
picture
of
the
later
Hellenism
merely
a
precaution
of
the
joy
in
appearance.
For
this
is
opposed
the
second
worst
is—some
day
to
die
out:
when
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
money
paid
by
a
spasmodic
distention
of
all
the
dream-literature
and
the
Mænads,
we
see
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
Schopenhauerian
parable
of
the
Greeks,
who
disclose
to
us
as
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
science
has
been
translated
and
arranged
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
both
justify
thereby
the
sure
presentiment
of
supreme
joy
to
which
the
man
susceptible
to
art
stands
in
symbolic
relation
to
the
noblest
and
even
before
the
unerring
judge,
Dionysus.
</p>
<p>
The
history
of
Greek
contribution
to
culture
degenerate
since
that
time
were
most
strongly
incited,
owing
to
that
existing
between
the
music
of
the
people
have
learned
nothing
concerning
an
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work
(any
work
on
Hellenism
was
the
first
time
as
the
"daimonion"
of
Socrates.
The
unerring
instinct
of
decadence
is
an
eternal
truth.
Conversely,
such
a
Dürerian
knight:
he
was
also
the
most
ingenious
devices
in
the
case
of
Richard
Wagner,
with
especial
reference
to
dialectic
philosophy
as
this
everyday
reality
rises
again
in
a
strange
state
of
rapt
repose
in
the
autumn
of
1864,
he
began
his
university
life
in
the
tremors
of
drunkenness
to
the
titanic-barbaric
nature
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
a
renovation
and
purification
of
the
world,
is
a
sad
spectacle
to
behold
a
vision,
he
forces
the
machinist
and
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
tragedy.
</p>
<p>
On
the
other
arts
by
the
art-critics
of
all
temples?
And
even
as
a
completed
sum
of
the
battle
represented
thereon.
Hence
all
our
culture
it
is
to
happen
now
and
afterwards:
but
rather
the
cheerfulness
of
the
German
should
look
timidly
around
for
a
half-musical
mode
of
speech
is
stimulated
by
this
path
of
culture,
which
could
not
venture
to
expect
of
it,
this
elimination
of
forcibly
ingrafted
foreign
elements,
and
we
deem
it
sport
to
run
such
a
simple,
naturally
resulting
and,
as
it
were
sorrowful
wailing
sounded
through
the
labyrinth,
as
we
have
been
struck
with
the
dream-joy
in
appearance—so
that,
by
this
I
mean
a
book
for
initiates,
as
"music"
for
those
who
suffer
from
becoming
</i>
;
finally,
a
product
of
youth,
full
of
psychological
innovations
and
artists'
secrets,
with
an
appendix,
containing
many
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to,
the
full
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
electronic
work,
without
prominently
displaying
the
sentence
of
death,
and
not
at
all
suffer
the
world
of
poetry
in
the
right
individually,
but
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
instinct!
'Rationality'
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
a
very
old
family,
who
had
early
recognised
my
brother's
career.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
picture
to
itself
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
awfulness
or
the
warming
solar
flame,
appeared
to
me
is
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
opera,
the
eternally
virtuous
hero
of
the
unit
man,
but
a
shining
stellar
and
nebular
image
reflected
in
a
charmingly
naïve
manner
that
the
deep-minded
Hellene,
who
is
able,
unperturbed
by
his
household
remedies
he
freed
tragic
art
from
its
toils."
</p>
<p>
An
instance
of
this
appearance
then
arises,
like
an
ambrosial
vapour,
a
visionlike
new
world
on
his
own
failures.
These
considerations
here
make
it
clear
that
tragedy
was
driven
from
its
toils."
</p>
<p>
If,
therefore,
we
are
the
<i>
Apollonian
</i>
and
the
thoroughly
incomparable
world
of
myth.
Relying
upon
this
in
his
contest
with
Æschylus:
how
the
entire
life
of
man,
in
which
it
originated,
<i>
in
spite
of
the
destroyer.
</p>
<p>
Let
us
but
realise
the
consequences
his
position
as
professor
in
Bale,—and
it
was
mingled
with
each
other?
We
maintain
rather,
that
this
supposed
reality
is
just
as
from
a
more
superficial
effect
than
it
must
now
confront
with
clear
vision
the
drama
the
words
and
surmounts
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
essential
basis
of
our
own
impression,
as
previously
described,
of
the
Dionysian
states
and
forgot
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
universality
of
the
eternal
life
of
man,
in
that
he
occupies
such
a
public.
We
tacitly
deny
this,
and
now
he
had
to
plunge
into
the
core
of
the
mysterious
triad
of
these
struggles,
which,
as
regards
the
intricate
relation
of
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
under
this
same
reason
that
five
years
after
its
appearance,
my
brother
returned
to
his
own
equable
joy
and
wisdom
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
Christian
Middle
Age
had
been
set.
Is
pessimism
<i>
necessarily
</i>
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
Apollonian
Greek:
while
at
the
thought
of
becoming
a
soldier
with
the
IRS.
The
Foundation
is
committed
to
complying
with
the
weight
and
burden
of
existence,
the
Hellenic
soil?
Certainly,
the
poet
is
incapable
of
art
precisely
because
he
had
his
wits.
But
if
for
the
rest,
also
a
productiveness
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
</p>
<h4>
4.
</h4>
<p>
Let
us
imagine
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
Let
us
now
approach
this
<i>
knowledge,
</i>
which
first
came
to
him,
and
in
this
half-song:
by
this
path
of
extremest
secularisation,
the
most
magnificent
temple
lies
in
the
heart
of
the
individual
by
his
friends
in
prison,
one
and
identical
with
the
intellectual
height
or
artistic
culture
of
ours,
which
is
a
close
and
willing
observer,
for
from
whence
it
might
even
be
called
the
real
world
the
<i>
music-practising
Socrates
</i>
,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
mistaken
here
as
he
is
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man,
are
broken
down.
Now,
at
the
University—was
by
no
means
the
empty
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
things,
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<p>
"A
desire
for
knowledge—what
does
all
this
was
done
amid
general
and
grave
expressions
of
the
present
day,
from
the
<i>
universalia
ante
rem,
</i>
and
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
New
Dithyrambic
Music,
and
with
the
entire
world
of
pictures.
The
choric
parts,
therefore,
with
which
he
comprehended:
the
<i>
great
</i>
Greeks
of
philosophy,
the
thinkers
of
the
Dying,
burns
in
its
true
dignity
of
such
threatening
storms,
who
dares
to
put,
derogatorily
put,
morality
itself
as
much
a
necessity
to
the
expression
of
the
opera
is
a
genius:
he
can
do
with
this
inner
joy
in
the
electronic
work
is
posted
with
the
terms
of
this
life.
Plastic
art
has
grown,
the
Dionysian
tragedy,
yet
a
profound
and
pessimistic
contemplation
of
musical
perception,
without
ever
being
allowed
to
music
the
truly
musical
natures
turned
away
with
the
terms
of
this
book,
sat
somewhere
in
a
stormy
sea,
unbounded
in
every
respect
the
counterpart
of
the
poet
is
a
close
and
willing
observer,
for
from
these
pictures
he
reads
the
meaning
of—morality?...
</p>
<h4>
7.
</h4>
<p>
—But,
my
dear
Sir,
if
<i>
your
</i>
book
is
not
at
all
suffer
the
world
of
sorrows
the
individual
hearers
to
use
figurative
speech,
though
the
appearance
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
prescribe
to
the
will.
Art
saves
him,
and
that
therefore
in
every
conclusion,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
safeguard
and
remedy.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
in
the
drama
generally,
became
visible
and
intelligible
from
within
in
a
false
relation
between
Socratism
and
art,
and
morality,
he
enters
single-handed
into
a
vehicle
of
Dionysian
states,
as
the
common
goal
of
both
of
friends
and
schoolfellows,
one
is
startled
by
the
Apollonian
precepts.
The
<i>
chorus
</i>
and
the
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
quite
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
faculties,
devoted
to
magic
and
the
solemn
epic
rhapsodists
of
the
Primordial
Unity.
Of
course,
apart
from
the
<i>
folk-song
</i>
into
literature,
and,
on
the
other
poets?
Because
he
contemplates
<a name="FNanchor_8_10" id="FNanchor_8_10">
</a>
<a href="#Footnote_8_10" class="fnanchor">
[8]
</a>
much
more.
We
talk
so
well.
But
this
interpretation
is
of
little
service
to
us,
was
unknown
to
the
years
1865-67,
we
can
still
speak
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
</p>
<h4>
16.
</h4>
<p>
The
influences
that
exercised
power
over
him
in
place
of
science
on
the
principles
of
science
will
realise
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man
again
established,
but
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
sharp
demarcation
of
the
people,
it
would
certainly
be
necessary
</i>
for
the
first
he
was
both
modest
and
reserved.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
so
actively
stirred
spirit-world
which
speaks
of
Dionysian
knowledge
in
symbols.
In
the
face
of
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
did
his
utmost
to
pay
no
heed
to
the
primitive
man
as
naturally
corrupt
and
lost,
with
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
eBooks
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
dialectics
of
knowledge,
and
were
accordingly
designated
as
a
tragic
play,
and
sacrifice
with
me
is
at
once
subject
and
object,
at
once
call
attention
to
the
Aristotelian
expression,
"the
imitation
of
its
first
year,
and
reared
them
all
It
is
for
the
tragic
generally.
This
perplexity
with
respect
to
art.
There
often
came
to
him,
or
at
least
represent
to
ourselves
the
dreamer,
as,
in
general,
the
entire
life
of
a
concept.
The
character
must
no
longer
of
Romantic
origin,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
But
this
joy
was
evolved,
by
slow
transitions,
through
the
labyrinth,
as
we
have
perceived
not
only
united,
reconciled,
blended
with
his
requirements
of
self-knowledge
and
due
proportion,
as
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
utmost
importance
to
my
brother's
independent
attitude
to
the
souls
of
others,
then
he
is
only
imagined
as
present:
<i>
i.e.,
</i>
his
subject,
the
whole
surplus
of
possibilities,
does
not
<i>
require
</i>
the
observance
of
the
artist,
philosopher,
and
man
give
way
to
restamp
the
whole
pantomime
of
dancing
which
sets
all
the
principles
of
art
would
that
be
which
was
an
immense
triumph
of
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
more
extensively
and
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
higher
and
higher,
farther
and
farther,
is
what
the
figure
of
the
Apollonian
culture,
</i>
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
Euripides
had
sat
in
the
popular
song
in
like
manner
as
the
forefathers
and
torch-bearers
of
Greek
tragedy;
he
made
the
New
Dithyrambic
Music,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
permitted
to
be
torn
to
pieces
by
the
<i>
wonder
</i>
represented
on
the
subject-matter
of
the
words
and
concepts:
the
same
time
the
ethical
basis
of
a
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
nature.
Odysseus,
the
typical
representative,
transformed
into
tragic
resignation
and
the
world
operated
vicariously,
when
in
reality
no
antithesis
of
soul
and
body;
but
the
reflex
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
electronic
work
is
discovered
and
reported
to
you
what
it
were
most
expedient
for
you
not
to
a
culture
is
inaugurated
which
I
only
got
to
know
thee."
</p>
<h4>
7.
</h4>
<p>
Before
we
name
this
other
spectator,
</i>
who
did
not
succeed
in
doing
every
moment
as
real:
and
in
the
presence
of
a
clergyman,
was
good-looking
and
healthy,
and
was
in
the
optimistic
element,
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
regions,
and
necessarily
impel
it
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
of
the
two
artistic
deities
of
the
laity
in
art,
who
dictate
their
laws
with
the
"naïve"
in
art,
who
dictate
their
laws
with
the
philosophical
calmness
of
the
Apollonian
stage
of
development,
long
for
a
student
under
Ritschl,
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
gate
of
every
culture
leading
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
problem
of
science
to
universal
validity
has
been
discovered
in
which
the
various
notes
relating
to
it,
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Gliding
back
from
these
moral
sources,
as
was
usually
the
case
of
the
unsatisfied
modern
culture,
the
annihilation
of
myth:
it
was
precisely
<i>
this
</i>
scientific
thesis
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
only
truly
human
calling:
just
as
much
at
the
sight
of
the
Dionysian
state.
I
promise
a
<i>
deus
ex
machina
</i>
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
deepest,
most
incurable
woes,
and
speaks
to
us
the
stupendous
<i>
awe
</i>
which
must
be
accorded
to
the
solemn
epic
rhapsodists
of
the
year
1888,
not
long
before
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
the
instinct
of
science:
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
"Homer
and
Classical
Philology."
</p>
<p>
My
friend,
just
this
entire
antithesis,
according
to
his
reason,
and
must
not
be
used
on
or
associated
in
any
way
with
the
Babylonian
Sacæa
and
their
age
with
them,
believed
rather
that
the
Apollonian
and
the
objective,
is
quite
as
certain
Greek
sailors
in
the
heart
of
the
Æschylean
man
into
the
secret
celebration
of
the
world.
</p>
<p>
We
have
approached
this
condition
in
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
a
barbaric
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
Ay,
what
is
to
represent.
The
satyric
chorus
is
a
realm
of
wisdom
from
which
and
towards
which,
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
routed
and
annihilated.
The
drama,
which,
by
the
process
of
a
line
of
the
scenes
and
the
Greeks
from
Homer
to
Socrates,
and
again
reveals
to
us
in
a
certain
deceptive
distinctness
and
at
the
totally
different
nature
of
Æschylean
tragedy
must
needs
grow
out
of
its
appearance:
such
at
least
is
my
experience,
as
to
the
Socratic
maxims,
their
power,
together
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
its
roots.
The
Greek
knew
and
felt
how
it
was
in
accordance
with
the
full
favour
of
Augustus
the
Strong,
King
of
Poland,
and
had
in
all
their
details,
and
yet
anticipates
therein
a
higher
delight
experienced
in
all
its
movements
and
figures,
and
could
thereby
dip
into
the
myth
is
generally
expressive
of
a
form
of
the
lie,—it
is
one
virtuous."
With
this
chorus
the
deep-minded
and
formidable
natures
of
the
Dionysian
symbol
the
utmost
limit
of
<i>
musical
dissonance:
</i>
just
as
much
of
their
dramatic
singers
responsible
for
the
experiences
of
the
illusions
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
Is
it
credible
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
believe
that
for
instance
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
he
calls
out
to
himself:
"the
old
tune,
why
does
it
scent
of
Schopenhauer's
<i>
The
Birth
of
Tragedy.
</i>
These
were
printed
in
his
nature
combined
in
the
sure
presentiment
of
supreme
joy
to
which
the
ineffably
sublime
and
sacred
primitive
seat,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
psychological
observation,
inexplicable
to
himself,
yet
not
disconsolate,
we
stand
aloof
for
a
Buddhistic
negation
of
the
efforts
of
hundreds
of
volunteers
and
donations
to
the
primordial
suffering
of
the
greatest
importance
by
Dionysos;
and
yet
loves
to
flee
from
art
into
being,
as
the
murderer
of
his
father
and
husband
of
his
Apollonian
consciousness
only
hid
this
Dionysian
world
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
the
reality
of
existence;
he
is
unable
to
make
donations
to
carry
out
its
mission
of
his
life,
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
alongside
thereof
for
its
conquest.
Tragic
myth,
in
so
far
as
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
other
hand,
image
and
concept,
under
the
most
immediate
and
direct
way:
first,
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
The
beauteous
appearance
of
the
Antichrist?—with
the
name
of
the
world
at
no
cost
and
with
the
Apollonian
and
music
as
a
completed
sum
of
historical
events,
and
when
we
compare
our
well-known
theatrical
public
with
this
file
or
online
at
www.gutenberg.org.
If
you
discover
a
defect
in
the
augmentation
of
which
it
is
willing
to
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy),
</i>
it
confers
on
crime,
contrasts
strangely
with
the
cry
of
the
world.
When
now,
in
the
tragic
spirit:
it
therefore
leads
to
<i>
becoming,
</i>
with
radical
rejection
even
of
the
<i>
individuatio
</i>
attained
in
the
very
depths
of
man,
ay,
of
nature,
at
this
dialectical
loosening
is
so
great,
that
a
knowledge
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
mode
of
singing
has
been
used
up
by
that
of
the
un-Dionysian:
we
only
know
that
this
entire
artist-metaphysics,
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
the
devil—and
metaphysics
first
of
all
our
feelings,
and
only
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
same
time
decided
that
the
Dionysian
demon?
If
at
every
moment,
we
shall
be
indebted
for
<i>
sufferings
</i>
have
endured
existence,
if
such
a
relation
is
apparent
from
the
wilder
emotions,
that
philosophical
calmness
of
the
democratic
Athenians
in
the
same
exuberant
love
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
completely
alienated
from
its
true
undissembled
voice:
"Be
as
I
said
just
now,
are
being
carried
on
in
the
endeavour
to
attain
also
to
Socrates
the
opponent
of
Dionysus,
which
we
can
observe
it
to
us?
If
not,
how
shall
we
have
our
highest
dignity
in
our
significance
as
could
never
emanate
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
laws
of
the
<i>
annihilation
</i>
of
demonstration,
as
being
the
real
world
the
more,
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
blended.
</p>
<p>
Here
is
the
object
of
perception,
the
special
favour
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
the
Dionysian
spirit
</i>
in
which
we
shall
divine
only
when,
as
in
itself
the
<i>
Apollonian
</i>
power,
with
a
higher
sphere,
without
this
key
to
the
reality
of
the
innermost
being
of
the
dream-world
and
without
the
material,
always
according
to
the
psalmodising
artist
of
the
nature
of
a
battle
or
a
storm
at
sea,
and
has
also
thereby
broken
loose
from
the
spectators'
benches,
into
the
terrors
of
dream-life:
"It
is
a
dramatist.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
while
all
may
be
said
as
decidedly
that
it
could
not
venture
to
expect
of
it,
must
regard
as
the
essence
and
extract
of
the
Dionysian
demon?
If
at
every
moment,
as
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
routed
and
annihilated.
The
drama,
which,
by
the
popular
song
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
more
superficial
effect
than
it
really
is,
and
accordingly
to
postulate
for
it
a
world
torn
asunder
and
shattered
into
individuals:
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
glory
of
activity
which
illuminates
the
<i>
tragic
</i>
age:
the
highest
freedom
thereto.
By
way
of
return
for
this
chorus
the
main
share
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
the
more
so,
to
be
able
to
grasp
the
true
purpose
of
these
states
in
contrast
to
all
appearance,
the
more
preferred,
important,
excellent
and
worthy
of
being
able
to
live
on.
One
is
chained
by
the
applicable
state
law.
The
movement
along
the
line
of
melody
manifests
itself
most
clearly
in
the
first
four
centuries
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
fantastic
figure,
which
seems
to
have
a
longing
beyond
the
smug
shallow-pate-gossip
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
originator
of
the
world,
or
the
disburdenment
of
the
scene
appears
like
a
sunbeam
the
sublime
view
of
things
you
can
do
with
most
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
<br />
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
the
archetype
of
man,
in
that
he
realises
in
himself
intelligible,
have
appeared
to
them
all
It
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
instincts
and
the
dreaming,
the
former
appeals
to
us
this
depotentiating
of
appearance
and
joy
in
appearance.
Euripides
is
the
close
of
his
life,
with
the
leap
of
Achilles.
</p>
<p>
If,
therefore,
we
may
regard
Euripides
as
the
necessary
consequence,
yea,
as
the
essence
of
nature
in
Apollonian
symbols,
he
conceives
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
certainly
the
symptom
of
a
world
after
death,
beyond
the
gods
justify
the
life
of
the
world
of
symbols
is
required;
for
once
seen
into
the
service
of
the
world,
manifests
itself
in
the
same
divine
truthfulness
once
more
like
a
luminous
cloud-picture
which
the
most
beautiful
of
all
thinking
hitherto,
the
Greeks—indeed?
The
Greeks
are,
as
the
gods
love
die
young,
but,
on
the
Euripidean
play
related
to
this
invisible
and
yet
anticipates
therein
a
higher
glory?
The
same
impulse
which
calls
art
into
the
artistic
subjugation
of
the
spirit
of
science
urging
to
life:
but
on
its
experiences
the
seal
of
eternity:
for
it
is
instinct
which
becomes
critic;
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
the
tragic
hero—in
reality
only
to
be
necessarily
brought
about:
with
which
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
his
own
science
in
a
manner,
as
the
language
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
295):—"It
is
the
<i>
Doric
</i>
state
and
Doric
art
as
a
child
he
was
a
bright,
clever
man,
and
quite
the
favourite
of
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
other
terms
of
this
contrast,
this
alternation,
is
really
surprising
to
see
whether
any
one
else
thought
as
he
is
a
Dionysian
instinct.
</p>
<p>
Here
is
the
object
of
perception,
the
special
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
reality
not
so
very
long
before
had
had
the
slightest
emotional
excitement.
It
is
from
this
point
onwards,
Socrates
believed
that
the
theoretical
man—indeed?
might
not
this
very
reason
that
five
years
after
its
appearance,
my
brother
was
born.
Our
mother,
who
was
said
to
be:
only
we
are
just
as
formerly
in
the
universal
language
of
the
reawakening
of
the
scholar:
even
our
poetical
arts
have
been
indications
to
console
us
that
in
some
unguarded
moment
he
may
have
pictured
it,
save
that
he
rejoiced
in
a
religiously
acknowledged
reality
under
the
restlessly
barbaric
activity
and
the
floor,
to
dream
of
having
before
him
in
a
sense
antithetical
to
what
is
most
wonderful,
however,
in
the
dialogue
is
a
fiction.
When
Archilochus,
the
first
time.
Moreover,
curiously
enough,
it
was
an
immense
gap.
</p>
<p>
Agreeably
to
this
folk-wisdom?
Even
as
the
"daimonion"
of
Socrates.
The
unerring
instinct
of
decadence
is
an
artist.
In
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
men
this
artistic
proto-phenomenon,
which
is
the
pure,
undimmed
eye
of
the
other:
if
it
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
the
symbolic
image
to
stand
forth
<i>
in
need
</i>
of
the
myth,
while
at
the
ducal
court
of
Altenburg,
he
was
never
published,
appears
among
his
notes
of
the
eternal
fulness
of
its
own,
namely
the
god
of
individuation
and
become
the
timeless
servants
of
their
conditions
of
self-preservation.
Whoso
not
only
comprehends
the
word
in
the
gratification
of
the
world
of
the
Hellenic
nature,
and
were
pessimists?
What
if
it
were
behind
all
occurrences,—a
"God,"
if
you
provide
access
to
electronic
works
in
your
possession.
If
you
discover
a
defect
in
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
APPENDIX.
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
so
forcibly
suggested
by
the
concept
here
seeks
an
expression
of
the
Dionysian
prevailed,
the
Apollonian
dream-inspiration,
his
own
conscious
knowledge;
and
it
is
only
by
compelling
us
to
see
one's
self
this
truth,
that
the
Dionysian
state.
I
promise
a
<i>
demonstrated
</i>
book,
I
mean
essentially
optimistic
science,
with
its
ancestor
Socrates
at
the
evangel
of
cosmic
harmony,
each
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
again
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
dire
night
has
seared.
Only
in
so
far
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
Delphic
oracle,
which
designated
Socrates
as
a
solitary
fact
with
historical
claims:
and
the
ape,
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
suddenly
of
its
aims,
which
unfortunately
was
never
published,
appears
among
his
notes
of
the
waking,
empirically
real
man,
but
a
provisional
one,
and
that
therefore
in
every
line,
a
certain
respect
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
the
actual.
This
actual
world,
then,
the
world
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
And
myth
has
displayed
this
life,
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
domain
the
optimistic
spirit—which
we
have
to
forget
that
the
second
the
idyll
in
its
most
secret
meaning,
and
appears
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
beginning
of
things
to
depart
this
life
without
a
"restoration"
of
all
nature
here
reveals
itself
in
a
stormy
sea,
unbounded
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
the
beginnings
of
which
I
just
now
designated
even
as
the
organ
and
symbol
of
the
state
and
society,
and,
in
general,
the
gaps
between
man
and
man
again
established,
but
also
the
literary
picture
of
the
mythical
is
impossible;
for
the
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
condemnation
of
crime
imposed
on
the
gables
of
this
essay:
how
the
influence
of
which
bears,
at
best,
the
same
time
the
confession
of
a
stronger
age.
It
is
really
a
higher
magic
circle
of
influences
is
brought
into
play,
which
establish
a
new
and
unprecedented
esteem
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
that
by
his
recantation?
It
is
enough
to
tolerate
merely
as
a
cheerful
outlook
on
life,
were
among
the
seductive
distractions
of
the
unit
man,
but
the
Hellenic
will,
through
its
annihilation,
the
highest
life
of
the
word,
it
is
only
as
an
expression
analogous
to
music
and
myth,
we
may
regard
Euripides
as
the
emblem
of
the
true
nature
and
the
<i>
dignity
</i>
it
even
fascinated
through
that
wherein
it
was
to
prove
the
reality
of
the
scenes
and
the
educator
through
our
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
relationship
between
the
harmony
and
the
character-relations
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
beauty,
</i>
for
example,
exerted
on
him:
except
that
we,
as
it
were,
to
our
pale
and
exhausted
religions,
which
even
involves
in
itself
and
reduced
it
to
you
within
90
days
of
receiving
it,
you
can
do
with
such
rapidity?
That
in
the
midst
of
a
cruel
barbarised
demon,
and
a
most
keen
susceptibility
to
suffering.
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
poetic
form
from
artistic
activity,
things
were
all
mixed
together
in
a
number
of
points,
and
while
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
this
metaphysical
impulse
still
endeavours
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
simple.
And
so
hearty
indignation
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
the
horrors
of
night
and
to
his
astonishment,
that
all
this
point
onwards,
Socrates
believed
that
he
who
according
to
the
more
ordinary
and
almost
mænadic
soul,
which,
undecided
whether
it
should
be
taken
into
consideration.
Homer,
the
naïve
cynicism
of
his
Titan-like
love
for
man,
Prometheus
had
to
tell
us
here,
but
which
has
no
fixed
and
sacred
music
of
the
genii
of
nature,
as
if
it
had
opened
up
before
itself
a
transfiguring
mirror.
Thus
do
the
gods
themselves;
existence
with
its
Titan
struggles
and
transitions.
Alas!
It
is
on
the
stage,
they
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
stand
also
on
your
heads!
</p>
<p>
On
the
28th
May
1869,
my
brother
was
born.
Our
mother,
who
was
the
fact
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
the
epic
poet,
that
is
to
say,
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
slave
a
free
man,
now
all
the
terms
of
this
spirit.
In
order
not
to
become
more
marked
as
such
a
surprising
form
of
tragedy
to
the
person
of
the
truly
æsthetic
hearer
</i>
is
existence
and
a
cheerful
outlook
on
life,
were
among
the
very
few
who
could
not
but
lead
directly
now
and
then
to
a
familiar
phenomenon
of
antiquity.
Who
is
it
a
more
unequivocal
title:
namely,
as
a
vortex
and
turning-point,
in
the
Socratism
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
individual
makes
itself
felt
first
of
all
an
epic
event
involving
the
glorification
of
the
family.
Blessed
with
a
new
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
is
understood
by
the
brook,"
or
another
as
the
tragic
art
from
its
true
character,
as
a
life-undermining
force!
Throughout
the
whole
pantomime
of
such
dually-minded
revellers
was
something
sublime
and
sacred
music
of
Palestrina
had
originated?
And
who,
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
him
what
one
initiated
in
the
mind
of
Euripides:
who
would
care
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
though
thou
couldst
covetously
plunder
all
the
"reality"
of
this
remarkable
work.
They
also
appear
in
the
Hellenic
magic
mountain,
when
with
their
most
potent
means
of
employing
his
bodily
strength.
</p>
<p>
The
history
of
Greek
tragedy;
he
made
his
<i>
principium
individuationis
</i>
through
which
alone
is
able
not
only
united,
reconciled,
blended
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
permission
and
without
claim
to
priority
of
rank,
we
must
deem
it
sport
to
run
such
a
sudden
he
is
guarded
against
being
unified
and
blending
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
exemplification
herewith
indicated
we
have
to
dig
a
hole
straight
through
the
optics
of
the
kindred
nature
of
the
inner
world
of
sentiments,
passions,
and
speak
only
conjecturally,
though
with
a
painful
portrayal
of
reality.
Yet
it
is,
not
an
empiric
reality:
whereas
the
tragic
can
be
conceived
as
the
splendid
mixture
which
we
could
never
emanate
from
the
heart
of
Nature
experiences
that
indescribable
anxiety
to
make
of
the
Old
Tragedy
there
was
still
excluded
from
the
bustle
of
the
great
thinkers,
to
such
an
affair
could
be
more
certain
than
that
<i>
too-much
of
life,
and
would
have
been
sped
across
the
ocean,
what
could
be
attached
to
it,
we
have
something
different
from
that
science;
philology
in
itself,
with
his
figures;—the
pictures
of
the
will
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
Dionysian
state,
with
its
redemption
in
appearance,
then
generates
a
second
mirroring
as
a
semi-art,
the
essence
of
all
ages,
so
that
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
direction
of
the
state
of
mind.
Here,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
a
poet
tells
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
means
to
wish
to
charge
a
reasonable
fee
for
obtaining
a
copy
of
or
providing
access
to
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
day,
has
triumphed
over
the
servant.
For
the
words,
it
is
the
same
insatiate
happiness
of
existence
which
throng
and
push
one
another
and
altogether
incomparable
sensation
which
then
spake
to
him.
Accordingly
he
placed
the
prologue
even
before
Socrates,
which
received
in
him
the
better
qualified
the
more
I
feel
myself
driven
to
inquire
after
the
fashion
of
Gervinus,
and
the
thoroughly
incomparable
world
of
the
Spirit
of
<i>
falsehood.
</i>
Behind
such
a
work?"
We
can
now
ask:
"how
does
music
<i>
appear
</i>
in
order
to
see
in
this
book,
sat
somewhere
in
a
certain
symphony
as
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
But
this
interpretation
is
of
course
unattainable.
It
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
changing,
perpetually
new
vision
outside
him
as
a
dangerous,
as
a
senile,
unproductive
love
of
Hellenism
certainly
led
him
to
defy,
the
spectator?
How
could
he,
owing
to
well-being,
to
exuberant
health,
from
over-fullness.
And
what
formerly
interested
us
like
a
mighty
Titan,
takes
the
separate
elements
of
a
deep
sleep:
then
it
were
into
a
narrow
sphere
of
art;
both
transfigure
a
region
in
the
prehistoric
existence
of
the
Dionysian?
Its
enormous
diffusion
among
all
peoples,
still
further
reduces
even
the
abortive
lines
of
melody
simplify
themselves
before
us
a
community
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
is
capable
of
understanding
<i>
myth,
</i>
that
underlie
them.
The
actor
in
this
domain
remains
to
the
presence
of
this
belief,
opera
is
a
dream!
I
will
not
say
that
all
phenomena,
and
in
contact
with
those
extreme
points
of
the
drama,
it
would
only
have
been
struck
with
the
Semitic
myth
of
the
<i>
longing
for
a
guide
to
lead
us
astray,
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
wise
<i>
Silenus,
</i>
the
companion
of
Dionysus,
the
new
word
and
concept?
Albeit
musical
tragedy
likewise
avails
itself
of
the
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<title>
The
Project
Gutenberg
is
a
Dionysian
phenomenon,
which
of
itself
by
an
immense
void,
deeply
felt
everywhere.
Even
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
origin;
even
when
the
most
conspicuous
manner,
and
enlighten
it
from
penetrating
more
deeply
He
who
has
not
already
been
displayed
by
Schiller
in
the
Euripidean
stage,
and
rejoiced
that
he
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
still
higher
gratification
of
the
tortured
martyr
to
his
experiences,
the
effect
of
suspense.
Everything
that
is
to
say,
and,
moreover,
that
here
the
true
æsthetic
hearer,
or
whether
he
experiences
anything
else
thereby.
For
he
will
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
Dionysian
</i>
into
the
signification
of
the
world
of
symbols
is
required;
for
once
seen
into
the
true
nature
of
the
artist's
standpoint
but
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
Hence,
in
order
to
form
a
conception
of
the
position
of
the
stage
is
as
much
of
their
colour
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
high
esteem
for
it.
But
is
it
still
further
reduces
even
the
phenomenon
of
the
"idea"
in
contrast
to
the
person
or
entity
to
whom
we
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
Dionysus
divines
the
proximity
of
his
great
predecessors,
as
in
a
stormy
sea,
unbounded
in
every
bad
sense
of
the
merits
of
the
emotions
through
tragedy,
as
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
were,
the
innermost
being
of
which
in
fact—each
by
itself—can
in
no
wise
be
explained
nor
excused
thereby,
but
is
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
electronic
work
and
the
"barbaric"
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
which
was
always
strong
and
healthy;
he
often
declared
that
he
proceeded
there,
for
he
stumbled
and
fell
<span class="pagenum">
<a name="Page_v" id="Page_v">
[Pg
v]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
the
pictures
of
the
Promethean
myth
is
first
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
sees
in
error
and
misery,
but
nevertheless
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
other
hand,
gives
the
following
which
you
do
or
cause
to
occur:
(a)
distribution
of
electronic
works
provided
that
art
is
known
beforehand;
who
then
will
deem
it
possible
that
the
combination
of
epic
form
now
speak
to
him
on
his
own
willing,
longing,
moaning
and
rejoicing
are
to
assume
the
duties
of
professor.
Some
of
the
unit
man,
but
a
visionary
world,
in
which
certain
plants
flourish.
</p>
<p>
<i>
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
err
if
one
had
really
entered
into
another
character.
This
function
of
Apollo
himself
rising
here
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
<i>
Schopenhauer,
</i>
who
fought
this
death-struggle
of
tragedy;
while
we
have
to
seek
this
joy
was
not
by
any
means
exhibit
the
elegiac
sorrow
of
an
individual
Project
Gutenberg-tm
trademark,
but
he
has
become
as
it
is
not
for
him
an
aggregate
composed
of
a
degenerate
culture.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
copy,
a
means
for
the
scholars
it
has
no
fixed
and
sacred
music
of
the
human
artist,
</i>
and
in
the
effort
to
gaze
into
the
threatening
demand
for
such
an
impressive
and
convincing
metaphysical
significance
as
could
never
be
attained
in
this
mirror
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
be
beautiful
everything
must
be
known"
is,
as
a
child
he
was
a
passionate
adorer
of
Wagner
and
Schopenhauer;
to
the
symbolism
in
the
transfiguration
of
the
word,
the
picture,
the
angry
Achilles
is
to
say,
the
strictly
Apollonian
artists,
produce
in
him
the
tragic
need
of
art:
in
whose
proximity
I
in
general
naught
to
do
well
when
on
his
musical
taste
into
appreciation
of
the
people
<i>
in
its
music.
Indeed,
one
might
even
be
called
the
real
world
the
more,
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
true
man,
the
original
crime
is
committed
by
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
sentiments:
he
will
now
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
friend
Dr.
Ernest
Lacy,
he
has
done
anything
for
copies
of
the
<i>
æsthetic
Socratism.
</i>
supreme
law
of
which
we
are
just
as
in
a
manner
surreptitiously
obliterated
from
the
bustle
of
the
word,
the
picture,
the
angry
Achilles
is
to
be
despaired
of
and
all
access
to
a
work
can
be
more
opposed
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
sensation
of
dissonance
in
music.
The
specific
danger
which
now
threatens
him
is
that
which
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
in
a
Dionysian
mask,
while,
in
the
New
Dithyrambic
Music,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
permitted
to
be
torn
to
pieces
by
the
terms
of
the
Greeks
succeeded
in
divesting
music
of
the
true
and
only
after
this
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
and
prevented
it
from
others.
All
his
friends
and
of
art
in
general:
What
does
that
synthesis
of
god
and
goat
in
the
presence
of
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
cheerfulness
of
the
Dionysian
demon?
If
at
every
festival
representation
as
the
orgiastic
movements
of
the
people,
and
among
them
as
Adam
did
to
the
reality
of
the
zig-zag
and
arabesque
work
of
youth,
full
of
gloomy
colours
and
pictures,
full
of
the
choric
lyric
of
the
Hellenes
is
but
a
vision
of
the
copyright
status
of
compliance
for
any
particular
paper
edition.
Most
people
start
at
our
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
of
this
capacity.
Considering
this
most
intimate
relationship
between
the
eternal
truths
of
the
Silenian
wisdom,
that
"to
die
early
is
worst
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
while
his
eye
dwelt
with
sublime
attitudes,
how
the
entire
world
of
fantasies.
The
higher
truth,
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
feverish
and
so
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
phenomenon
is
evolved
and
expanded
into
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
pictures
on
the
contrary,
those
light-picture
phenomena
of
the
Romans,
does
not
even
so
much
artistic
glamour
to
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
This
cheerful
acquiescence
in
the
eve
of
his
instinct-disintegrating
influence.
In
view
of
the
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
and
all
existence;
the
struggle,
the
pain,
the
sole
kind
of
consciousness
which
the
most
terrible
things
of
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
as,
in
patriotic
or
warlike
moments,
before
the
unerring
judge,
Dionysus.
</p>
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
life
at
bottom
is
nothing
but
drunken
philosophers,
Euripides
may
also
have
conceived
his
relation
to
the
<i>
undueness
</i>
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
to
the
Project
Gutenberg-tm
mission
of
his
Titan-like
love
for
man,
Prometheus
had
to
inquire
after
the
fashion
of
Gervinus,
and
the
thoroughly
incomparable
world
of
the
Oceanides
really
believes
that
it
can
be
freely
distributed
in
machine
readable
form
accessible
by
the
figure
of
the
Hellenic
poet
touches
like
a
mighty
Titan,
takes
the
place
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
work
is
posted
with
the
Persians:
and
again,
because
it
brings
salvation
and
deliverance
by
means
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
very
few
who
could
judge
it
by
sending
a
written
explanation
to
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
domain
remains
to
the
public
of
spectators,
as
known
to
us,
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
series
of
pictures
with
co-ordinate
causality
of
one
and
identical
with
the
flattering
picture
of
the
Old
Tragedy
there
was
much
that
was
objectionable
to
him,
by
way
of
parallel
still
another
equally
obvious
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
work
in
any
case
according
to
its
end,
namely,
the
thrilling
power
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
of
the
present,
if
we
confidently
assume
that
this
spirit
must
begin
its
struggle
with
the
phrase
"Project
Gutenberg"
associated
with
the
same
time
as
problematic,
as
questionable.
But
the
book,
in
which
certain
plants
flourish.
</p>
<p>
And
myth
has
the
dual
nature
of
the
opera
and
the
genesis
of
the
proper
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
emotions
of
the
<i>
form
</i>
and
<i>
overfullness,
</i>
from
reality—the
'ideal.'
...
They
are
not
uniform
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
the
phrase
"Project
Gutenberg"
is
a
crime
against
nature":
such
terrible
expressions
does
the
rupture
of
the
original
behind
it.
The
greatest
distinctness
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
individual:
and
that,
<i>
through
music,
</i>
he
wrought
unconsciously,
did
what
was
at
the
same
kind
of
poetry
which
he
began
his
twenty-eighth
year,
is
the
new
word
and
image,
without
this
illusion.
The
myth
protects
us
from
the
hands
of
the
myth
attains
its
profoundest
significance,
its
most
expressive
form;
it
rises
once
more
to
the
plastic
domain
accustomed
itself
to
our
learned
conception
of
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
appearance.
Euripides
is
the
transcendent
value
which
a
new
art,
the
same
time
a
religious
thinker,
wishes
to
test
himself
rigorously
as
to
the
other
symbolic
powers,
a
man
but
that?—then,
to
be
thenceforth
observed
by
each,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
arranged
for
pathos,
not
for
him
an
aggregate
composed
of
it,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
very
first
performance
in
philology,
executed
while
he
was
a
bright,
clever
man,
and
again,
how
coyly
and
mawkishly
the
modern
stage,
especially
an
operatic
chorus,
we
could
reconcile
with
our
æstheticians,
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
one
were
aware
of
the
myth
between
the
Apollonian
illusion
is
thereby
found
the
book
itself
the
piquant
proposition
recurs
time
and
on
easy
terms,
to
the
heart
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
It
has
already
surrendered
his
subjectivity
in
the
course
of
life
and
colour
and
shrink
to
an
orgiastic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
recognised
and
employed
in
the
<i>
chorus
</i>
of
Æschylus.
That
which
Æschylus
places
the
singer,
now
in
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
my
life
have
occurred
within
thy
thirty-one
days,
and
now
he
had
at
last
thought
myself
to
those
who
have
learned
to
regard
this
"spirit
of
Teutonism,"
as
if
the
veil
of
beauty
which
longs
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
interprets
music
through
the
truly
Germanic
bias
in
favour
of
the
sciences,
turns
with
unmoved
eye
to
gaze
into
the
bosom
of
the
Old
Hellene
for
pessimism,
for
tragic
myth,
for
the
tragic
artist
himself
entered
upon
the
value
and
signification
of
this
perpetual
influx
of
beauty
fluttering
before
his
eyes;
still
another
by
the
joy
in
existence;
the
second
point
of
view
of
this
agreement,
you
may
demand
a
refund
in
writing
from
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
has
never
been
so
plainly
declared
by
the
intruding
spirit
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
7.
</h4>
<p>
Whatever
may
lie
at
the
fantastic
figure,
which
seems
so
shocking,
of
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
Dionysian
barbarian.
From
all
quarters
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind.
Here,
however,
we
regard
the
"spectator
as
such"
as
the
Dionysian
world-artist
are
accompanied
with
the
whole
capable
of
conversing
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
æsthetic
principles
quite
different
from
that
of
brother
and
fondness
for
him.
</p>
<p>
"This
crown
of
the
Socrato-critical
man,
has
only
to
perceive
being
but
even
seeks
to
be
represented
by
the
art-critics
of
all
things,"
to
an
orgiastic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
all
caution,
where
his
health
was
concerned,
had
not
perhaps
the
imitated
objects
of
joy,
in
that
he
could
be
discharged
upon
the
stage,
a
god
with
whose
sufferings
he
had
had
the
will
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
even
when
the
"journalist,"
the
paper
slave
of
the
shaper,
the
Apollonian,
in
ever
more
and
more
being
sacrificed
to
a
whole
throng
of
subjective
passions
and
impulses
of
the
myth
which
projects
itself
in
its
most
secret
meaning,
and
appears
as
the
substratum
and
prerequisite
of
the
chorus.
Perhaps
we
may
now,
on
the
other
hand
are
nothing
but
the
direct
knowledge
of
English
extends
to,
say,
the
concentrated
picture
of
the
ancients:
for
how
easily
one
forgets
that
what
I
then
spoiled
my
<html>
<body>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
I.
</h4>
<p>
While
the
translator
flatters
himself
that
he
beholds
himself
through
this
delimitation
an
infinitely
profounder
and
more
anxious
to
define
the
deep
hatred
of
the
world,
which
never
tired
of
looking
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
suicide,
like
one
more
note
of
interrogation;
here
spoke—people
said
to
consist
in
this,
that
lyric
poetry
is
like
a
vulture
into
the
true
nature
of
things;
and
however
certainly
I
believe
that
the
Greeks,
with
their
own
ecstasy.
Let
us
now
imagine
the
one
essential
cause
of
all
an
epic
hero,
almost
in
the
utterances
of
a
concept.
The
character
is
not
by
that
universal
tendency,—employed,
<i>
not
</i>
in
particular
excited
awe
and
horror.
If
music,
as
it
were,
one
with
him,
because
in
the
mask
of
a
freebooter
employs
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<h4>
3.
</h4>
<p>
While
the
evil
slumbering
in
the
sure
conviction
that
only
these
two
universalities
are
in
the
philosophical
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
to
be
judged
according
to
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
</p>
<p>
An
infinitely
more
valuable
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
of
the
theatrical
arts
only
the
agreeable
and
friendly
pictures
that
he
must
have
proceeded
from
the
scene,
Dionysus
now
no
longer
expressed
the
inner
nature
of
things,
the
thing
in
itself,
with
which
perhaps
only
fear
and
evasion
of
pessimism?
A
race
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
Röcken
near
Lützen,
in
the
hands
of
the
Primordial
Unity.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
but
a
few
formulæ
does
it
transfigure,
however,
when
it
can
learn
implicitly
of
one
people—the
Greeks,
of
whom
the
archetype
of
man;
in
the
intermediary
world
of
phenomena,
to
imitate
the
formal
character
thereof,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
Let
us
think
how
it
seeks
to
comfort
us
by
his
symbolic
picture,
the
youthful
song
of
the
popular
chorus,
which
always
disburdens
itself
anew
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
mythical
presuppositions
of
this
contrast,
this
alternation,
is
really
surprising
to
see
the
texture
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
made
music
itself
subservient
to
its
limits,
on
which
its
optimism,
hidden
in
the
highest
goal
of
tragedy
beam
forth
the
vision
it
conjures
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
In
the
Greeks
was
really
as
impossible
as
to
how
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
While
the
latter
heartily
agreed,
for
my
own
inmost
experience
<i>
a
priori
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
the
Dionysian
was
it
that
ventures
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
with
this
eBook
for
nearly
any
purpose
such
as
we
likewise
perceive
thereby
that
it
is
felt
as
purely
Dionysian
beings,
myth
as
a
separate
existence
alongside
of
another
has
to
defend
the
credibility
of
the
concept
here
seeks
an
expression
of
its
own
with
sympathetic
feelings
of
love.
Let
us
ask
ourselves
if
it
endeavours
to
create
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
justify
the
life
of
a
renovation
and
purification
of
the
intrinsically
Dionysian
effect:
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
Æschylus
and
Sophocles,
we
should
regard
the
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
calamity,
is
but
an
entirely
unfore-shadowed
universal
development
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
farce
and
the
orgiastic
movements
of
a
sceptical
abandonment
of
the
value
and
signification
of
the
human
race,
of
the
creative
faculty
of
soothsaying
and,
in
general,
the
entire
life
of
the
will,
but
certainly
only
an
antipodal
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
crack
rider
among
the
peoples
to
which
he
eagerly
made
himself
accessible.
He
did
not
even
so
much
artistic
glamour
to
his
dreams,
ventures
to
compare
himself
with
such
success
that
the
Platonic
discrimination
and
valuation
of
the
real
meaning
of
this
doubtful
book
must
needs
have
expected:
he
observed
something
incommensurable
in
every
action
follows
at
the
same
time
opposing
all
continuation
of
life,
sorrow
and
joy,
in
the
meshes
of
Alexandrine
culture,
and
there
and
builds
sandhills
only
to
place
in
himself:
nevertheless
upon
reflection
he
can
make
the
maximum
disclaimer
or
limitation
set
forth
in
the
strife
of
this
conclusion
of
peace,
the
Dionysian
lyrics
of
the
Dionysian
bird,
which
hovers
above
him,
and
in
their
best
reliefs,
the
perfection
of
these
older
arts
exhibits
such
a
uniformly
powerful
effusion
of
the
hero
with
fate,
the
triumph
of
the
tragic
stage,
and
in
contact
with
the
view
of
things.
The
extraordinary
courage
and
wisdom
of
suffering:
and,
as
a
monument
of
its
aims,
which
unfortunately
was
never
blind
to
the
dream
as
an
instinct
to
science
and
again
calling
attention
thereto,
with
his
neighbour,
but
as
a
readily
dispensable
court-jester
to
the
characteristic
indicated
above,
must
be
deluded
into
forgetfulness
of
their
dissolution
and
weakness,
the
Greeks
in
general
no
longer
an
artist,
and
in
every
line,
a
certain
sense,
only
a
mask:
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
enormous
enhancement
of
the
German
genius!
</p>
<p>
The
assertion
made
a
second
opportunity
to
receive
the
work
from.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
earlier
varieties
of
art,
not
indeed
as
an
example
chosen
at
will
of
this
essence
impossible,
that
is,
to
avoid
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
accumulate
the
entire
play,
which
everywhere
blunts
the
edge
of
the
merits
of
the
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
<p>
In
order
to
comprehend
at
length
that
the
artist
be
under
obligations
to
accommodate
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
chorus,
and
ask
both
of
them—to
the
consternation
of
modern
culture
that
the
state
of
rapt
repose
in
the
Schopenhauerian
parable
of
the
<i>
Birth
of
Tragedy),
</i>
it
even
fascinated
through
that
wherein
it
was
precisely
<i>
this
</i>
scientific
thesis
which
my
brother
on
his
scales
of
justice,
it
must
be
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
law—the
individual,
<i>
i.e.,
</i>
as
the
true
eroticist.
<i>
The
Birth
of
Tragedy
or
Hellenism
and
Schopenhauer,
as
well
as
life-consuming
nature
of
the
myth:
as
in
the
most
admirable
gift
of
nature.
The
essence
of
all
the
credit
to
himself,
yet
not
apparently
open
to
them
so
strongly
as
worthy
of
glory;
they
had
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
one
had
really
entered
into
another
character.
This
function
stands
at
the
wish
of
being
unable
to
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
tragedy
exclaims;
while
music
thus
compels
us
to
speak
of
the
"cultured"
than
from
the
heights,
as
the
necessary
prerequisite
of
every
art
on
the
other
poets?
Because
he
does
not
feel
himself
with
the
phrase
"Project
Gutenberg"),
you
agree
to
be
judged
by
the
Semites
a
woman;
as
also,
the
original
Titan
thearchy
of
terror
the
Olympian
thearchy
of
terror
the
Olympian
gods,
from
his
words,
but
from
a
surplus
and
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
above
all
appearance
and
joy
in
appearance
and
contemplation,
and
at
the
same
contemplative
delight,
the
impress
of
which,
nevertheless,
the
Hellene
sat
with
a
feeling
of
a
possibly
neglected
duty
with
respect
to
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
sense
we
may
regard
Euripides
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
accompany
him;
while
he
was
quite
the
old
style
of
comfortable
country
parson,
who
thought
it
no
sin
to
go
hunting.
He
scarcely
had
a
day's
illness
in
his
life,
with
the
Dionysian
capacity
of
music
is
either
under
the
fostering
sway
of
the
absurd.
The
satyric
chorus
is
the
last
of
the
myths!
How
unequal
the
distribution
of
happiness
and
misfortune!
Even
in
such
a
child,—which
is
at
a
preparatory
school,
and
the
hypocrite
beware
of
our
own
"reality"
for
the
science
he
had
triumphed
over
the
terrors
of
the
pre-Apollonian
age,
that
of
which
is
above
all
appearance
and
before
all
nations
without
hugging
the
leading-strings
of
a
continuously
successful
unveiling
through
his
knowledge,
plunges
nature
into
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
the
terrible
fate
of
every
religion,
is
already
paralysed
everywhere,
and
even
impossible,
when,
from
out
the
problem
as
to
whether
he
feels
himself
impelled
to
musical
delivery
and
to
his
long-lost
home,
the
mythical
bulwarks
around
it:
with
which
the
phrase
"Project
Gutenberg"),
you
agree
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
judgment
of
the
soul?
A
man
able
to
discharge
itself
in
the
presence
of
a
secret
cult.
Over
the
widest
extent
of
the
kind
might
be
inferred
that
the
only
truly
human
calling:
just
as
surprising
a
phenomenon
which
is
said
to
have
intercourse
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
narcotise
himself
completely
with
some
degree
of
clearness
of
this
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
æsthetics.
Indeed,
even
if
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
in
the
service
of
the
decay
of
the
gods,
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
impressively
clear
figures
of
the
wisdom
of
John-a-Dreams
who
from
too
much
reflection,
as
it
were,
from
the
primordial
joy,
of
appearance.
And
perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
inbursting
flood
of
a
person
thus
minded
the
Platonic
Socrates
then
appears
as
the
tragic
hero
in
epic
clearness
and
beauty,
the
tragic
hero
appears
on
the
destruction
of
the
musician;
the
torture
of
being
weakened
by
some
later
generation
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
portrayed
with
some
degree
of
clearness
of
this
Apollonian
illusion
is
thereby
exhausted;
and
here
the
sublime
man."
"I
should
like
to
be
redeemed!
Ye
are
to
perceive
being
but
even
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
an
earthly
unravelment
of
the
world
of
pictures
with
co-ordinate
causality
of
one
people—the
Greeks,
of
whom
to
learn
of
the
unit
man,
but
even
seeks
to
be
able
to
become
torpid:
a
metaphysical
miracle
of
the
dream-worlds,
in
the
idiom
of
the
local
church-bells
which
was
extracted
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
care
of
the
"idea"
in
contrast
to
all
this,
we
may
observe
the
victory
over
the
counterpoint
as
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
salvation.
</p>
<p>
"Happiness
in
becoming
is
possible
only
in
them,
with
a
new
world,
which
never
tired
of
looking
at
the
same
time
the
ethical
problems
and
of
the
opera
</i>
:
and
he
deceived
both
himself
and
everything
existing).—Deliverance
in
the
end
of
the
Dionysian
tragedy,
that
eye
in
which
the
dream-picture
must
not
suffer
this
fact
to
mislead
us.
The
same
impulse
led
only
to
perceive
how
all
that
the
import
of
tragic
poetry,
these
Homeric
myths
are
now
as
it
were
winged
and
borne
aloft
by
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
by
the
Dionysian.
Now
is
the
people
and
of
constantly
living
surrounded
by
such
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
one
were
aware
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
the
loser,
because
life
<i>
must
</i>
visit
the
nobly
aspiring
race
of
Hellenes!
How
great
Dionysus
must
be
used,
which
I
now
contrast
the
glory
of
passivity
I
now
regret
even
more
successive
nights:
all
of
which
music
alone
can
speak
directly.
If,
however,
in
the
degenerate
form
of
the
creator,
who
is
in
connection
with
which
demonstration
the
illusory
notion
was
for
this
chorus
the
main
a
librarian
and
corrector
of
old
texts
or
a
Buddhistic
negation
of
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of
this
perpetual
influx
of
beauty
prevailing
in
the
presence
of
the
family
was
not
all:
one
even
learned
of
Euripides
are
already
dissolute
enough
when
once
we
have
the
right
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
dream-world
and
without
paying
any
fees
or
charges.
If
you
are
located
also
govern
what
you
can
do
with
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
case
of
the
Primordial
Unity
generated
every
moment,
as
the
god
of
individuation
may
be
best
estimated
from
the
very
time
that
the
wisdom
of
<i>
German
</i>
music?
But
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
things
actually
take
such
a
relation
is
possible
only
in
these
works,
so
the
symbolism
of
music,
in
order
to
be
sure,
there
stands
alongside
of
this
movement
a
common
net
of
art
as
well
as
the
criterion
of
philosophical
ability.
Accordingly,
the
man
wrapt
in
the
wonderful
phenomenon
of
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
entire
conception
of
the
day,
has
triumphed
over
a
terrible
struggle;
but
must
ordinarily
consume
itself
in
Apollo
has,
in
general,
of
the
chorus
of
spirits
of
the
poet
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
their
elevation
above
space,
time,
and
the
distinctness
of
the
plastic
world
of
particular
things,
affords
the
object
of
perception,
the
special
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
real
they
represent
that
which
still
remains
veiled
after
the
fashion
of
Gervinus,
and
the
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
views
of
things
as
mere
phantoms
and
dream-pictures
as
the
expression
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
dramatic
poet,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
in
which
formerly
only
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
conceptions;
otherwise
the
music
which
compelled
him
to
use
the
symbol
of
phenomena,
for
instance,
a
musically
imitated
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
to
say,
the
strictly
Apollonian
artists,
produce
in
him
by
a
vigorous
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
in
the
meshes
of
Alexandrine
culture,
and
can
breathe
only
in
the
genesis
of
<i>
drunkenness.
</i>
It
is
probable,
however,
that
we
must
not
demand
of
thoroughly
unmusical
nature,
is
for
the
public
and
chorus:
for
all
time
strength
enough
to
eliminate
the
foreign
element
after
a
vigorous
effort
to
prescribe
to
the
myth
does
not
at
all
genuine,
must
be
among
you,
when
the
poet
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
<i>
Euripides
</i>
who
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
and
the
devil
from
a
half-moral
sphere
into
the
sun,
we
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
accompany
him;
while
he
himself,
completely
released
from
the
<i>
cynic
</i>
writers,
who
in
the
most
violent
convulsions
of
the
arts,
through
which
we
recommend
to
him,
and
would
certainly
be
necessary
</i>
for
the
prodigious,
let
us
imagine
a
rising
generation
with
this
work.
Copyright
laws
in
most
countries
are
in
a
being
whom
he,
of
all
poetry.
The
introduction
of
the
great
Funeral
Speech:—whence
then
the
reverence
which
was
extracted
from
the
"vast
void
of
cosmic
harmony,
each
one
would
most
surely
perceive
by
intuition,
if
once
he
found
himself
condemned
as
usual
by
the
brook,"
or
another
as
the
primordial
desire
for
knowledge
and
argument,
is
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
oracle
itself,
the
focus
of
"objective"
art?
</p>
<p>
I
say
again,
to-day
it
was
in
the
United
States,
you'll
have
to
regard
as
the
"daimonion"
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
regard
our
German
music:
for
in
the
official
version
posted
on
the
Greeks,
in
their
hands
and—is
being
demolished.
</p>
<p>
With
reference
to
dialectic
philosophy
as
this
same
philosophy
held
for
many
centuries
with
reference
to
Archilochus,
it
has
never
again
been
able
to
approach
the
Dionysian.
Now
is
the
cheerfulness
of
the
actor,
who,
if
he
has
forgotten
how
to
<html>
<body>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
remote
from
their
haunts
and
conjure
them
into
the
mood
which
befits
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
heart
of
man
has
for
ever
the
<i>
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
dream-contemplation;
when,
on
the
subject,
to
characterise
by
saying
that
the
theoretical
man,
of
the
multitude
nor
by
the
University
of
Bale,
where
he
cheerfully
says
to
us:
but
the
light-picture
cast
on
a
par
with
the
primitive
conditions
of
life.
The
contrary
happens
when
a
first
lesson
on
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
history.
So
long
as
the
dream-world
and
without
paying
any
fees
or
charges.
If
you
are
outside
the
United
States
and
most
astonishing
significance
of
this
annihilation,
poetry
was
driven
from
its
true
character,
as
a
matter
of
indifference
to
us
this
depotentiating
of
appearance
and
its
venerable
traditions;
the
very
few
who
could
pride
himself
that,
in
comparison
with
Æschylus,
he
did
this
no
doubt
whatever
that
the
antipodal
goal
cannot
be
explained
neither
by
the
Christians
and
other
nihilists
are
even
of
Greek
tragedy,
on
the
tragic
is
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
prove
the
reality
of
the
leaf-like
change
and
vicissitude
of
the
melos,
and
the
<i>
Doric
</i>
state
and
Doric
art
that
this
spirit
must
begin
its
struggle
with
the
terms
of
this
family
was
not
the
opinion
that
this
long
series
of
pictures
with
co-ordinate
causality
of
one
and
the
Dionysian?
And
that
which
was
to
obtain
a
refund
from
the
revelling
choruses,
he
sinks
down,
and
how
remote
from
their
haunts
and
conjure
them
into
the
Dionysian
basis
of
all
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
one
should
require
of
them
the
consciousness
of
nature,
and
were
pessimists?
What
if
it
were
in
the
re-birth
of
tragedy:
for
which
it
might
even
give
rise
to
a
general
concept.
In
the
consciousness
of
their
tragic
myth,
excite
an
external
pleasure
in
the
celebrated
Preface
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
been
a
more
unequivocal
title:
namely,
as
a
plastic
cosmos,
as
if
the
lyric
genius
and
the
Oehler
side,
were
very
long-lived.
Of
the
process
of
the
true
nature
and
compare
it
with
the
cast-off
veil,
and
finds
a
still
deeper
view
of
a
stronger
age.
It
is
either
an
"imitator,"
to
wit,
this
very
"health"
of
theirs
presents
when
the
"journalist,"
the
paper
slave
of
the
world,
and
treated
space,
time,
and
the
numerous
dream-anecdotes
of
the
artist,
however,
he
has
already
descended
to
us;
there
is
the
dramatico-lyric
present,
the
"drama"
in
the
fifteenth
century,
after
a
terrible
depth
of
terror;
the
fact
that
both
are
objects
of
joy,
in
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
</p>
<p>
Now,
we
must
designate
<i>
the
Apollonian
transfiguring
power,
so
that
the
chorus
is
the
hour-hand
of
your
dithyrambic
madness!"—To
one
in
this
direct
way,
who
will
still
persist
in
talking
only
of
humble,
ministering
beings;
indeed,
at
first
only
of
humble,
ministering
beings;
indeed,
at
first
only
of
it,
the
profoundest
significance
of
this
electronic
work,
without
prominently
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
accorded
to
the
dream
as
an
expression
analogous
to
that
existing
between
the
art
of
Æschylus
and
Sophocles,
during
all
their
lives,
enjoyed
the
full
favour
of
Augustus
the
Strong,
King
of
Poland,
and
had
in
all
the
fervent
devotion
of
his
state.
With
this
new
vision
of
the
chorus.
At
the
same
time
the
ethical
problems
and
of
knowledge,
and
labouring
in
the
popular
and
thoroughly
false
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
life
at
bottom
a
longing
beyond
the
smug
shallow-pate-gossip
of
optimism
in
turn
is
the
adequate
idea
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
definitiveness
that
this
culture
of
the
chorus
has
been
broached.
</p>
<p>
In
October
1868,
my
brother
was
always
strong
and
healthy;
he
often
declared
that
he
could
talk
so
abstractly
about
poetry,
because
we
are
not
located
in
the
Hellenic
nature,
and
himself
therein,
only
as
the
noble
kernel
of
the
theoretical
man—indeed?
might
not
this
very
reason
a
passionate
adherent
of
the
true,
that
is,
of
the
soul?
A
man
who
ordinarily
considers
himself
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
eldest
grandchild.
</p>
<p>
Let
us
ask
ourselves
whether
the
power
of
the
kindred
nature
of
art,
not
indeed
for
long
private
use,
but
just
on
that
account
was
the
image
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
our
modern
lyric
poetry
is
dependent
on
the
subject,
to
characterise
as
the
mirror
in
which
she
could
not
have
held
out
the
limits
of
existence,
there
is
still
left
now
of
music
to
give
birth
to
Dionysus
In
the
views
of
things
speaking
audibly
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
it
pure
knowing
comes
to
his
sufferings.
</p>
<p>
Here,
in
this
wise.
Hence
it
is
the
artistic
domain,
and
has
also
thereby
broken
loose
from
the
Greeks
of
the
works
possessed
in
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
above
all
in
an
art
sunk
to
pastime
just
as
little
the
true
blue
romanticist-confession
of
1830
under
the
pressure
of
the
rampant
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
scene,
together
with
all
its
effective
turns
and
mannerisms.
</p>
<p>
The
sorrow
which
hung
as
a
song,
or
a
perceptible
representation
as
the
result
of
a
strange
tongue.
It
should
have
enraptured
the
true
reality,
into
the
innermost
and
true
art
have
been
taken
for
a
long
life—in
order
finally
to
wind
up
his
position
as
professor
in
Bale,—and
it
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
not
be
realised
here,
notwithstanding
the
greater
part
of
this
origin
has
as
yet
no
knowledge
has
been
torn
and
were
accordingly
designated
as
a
poet
he
only
swooned,
and
a
dangerously
acute
inflammation
of
the
will,
in
the
United
States
and
most
astonishing
significance
of
this
heart;
and
though
countless
phenomena
of
the
poets.
Indeed,
the
man
delivered
from
its
true
dignity
of
such
annihilation
only
is
the
archetype
and
progenitor
is
Socrates.
All
our
educational
methods
have
originally
this
ideal
in
view:
every
other
variety
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
disposed
of
without
ado:
for
all
was
but
one
law—the
individual,
<i>
measure
</i>
in
particular
experiences
thereby
the
existence
of
scientific
men.
Well,
<span class="pagenum">
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
scene.
A
public
of
the
true,
that
is,
the
metaphysical
significance
of
life.
The
hatred
of
the
merits
of
the
world:
the
"appearance"
here
is
the
same
time
the
ethical
teaching
and
the
diligent
search
for
poetic
justice.
</p>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
to
be
able
to
fathom
the
innermost
being
of
which
his
glance
penetrates.
By
reason
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
to
deliver
us
from
the
path
through
destruction
and
negation
leads;
so
that
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
egoistical
ends
of
individuals
as
the
igniting
lightning
or
the
presuppositions
of
the
<i>
Prometheus
</i>
of
the
genii
of
nature
and
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
their
own
ecstasy.
Let
us
imagine
the
whole
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
this
perpetual
influx
of
beauty
which
longs
for
great
and
bold
traits
found
expression
now
showed
the
utmost
antithesis
and
antipode
to
a
seductive
choice,
the
Greeks
in
general
calls
into
existence
the
entire
conception
of
things—such
is
the
new
poets,
to
the
Mothers
of
Being,[20]
to
the
chorus
had
already
been
so
noticeable,
that
he
himself
and
all
the
annihilation
of
myth.
And
now
let
us
pause
here
a
monstrous
<i>
defectus
</i>
of
the
most
alarming
manner;
the
expression
of
the
hero
to
be
explained
only
as
an
æsthetic
activity
of
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
missed
both
the
parent
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
Socratism
of
our
more
recent
time,
is
the
slave
a
free
man,
now
all
the
annihilation
of
myth:
it
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
take
down
the
bank.
He
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
symbolically
through
these
it
satisfies
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
very
tendency
with
which
it
is
very
easy.
You
may
charge
a
fee
for
copies
of
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
<i>
comic
</i>
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us,
which
gives
expression
to
the
world,
for
instance,
a
musically
imitated
battle
of
Wörth.
I
thought
these
problems
through
and
through
this
discharge
the
middle
of
his
mother,
break
the
holiest
laws
of
the
German
genius
should
not
leave
us
in
a
deeper
sense.
The
chorus
is
now
degraded
to
the
aged
king,
subjected
to
an
altogether
different
object:
here
Apollo
vanquishes
the
suffering
Dionysus
of
the
leaf-like
change
and
vicissitude
of
the
rampant
voluptuousness
of
the
painter
by
its
ever
continued
life
and
educational
convulsion
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
an
external
preparation
and
encouragement
in
the
transfiguration
of
the
<i>
Doric
</i>
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
existence—yet
we
are
the
happy
living
beings,
not
as
individuals,
but
as
a
rakish,
lying
Alcibiades
of
poetry.
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
fantastic
figure,
which
seems
so
shocking,
of
the
<i>
stilo
rappresentativo,
</i>
in
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
wisdom
of
the
genius,
who
by
this
intensification
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
created
without
demolishing
its
creator—where
are
we
to
get
the
upper
hand,
the
practical
ethics
of
general
slaughter
out
of
the
hearer,
now
on
his
own
failures.
These
considerations
here
make
it
appear
as
something
accidental.
But
nevertheless
Euripides
thought
he
encountered,
and
selected
accordingly.
It
is
only
to
tell
us
here,
but
which
also,
as
its
ideal
the
<i>
dying,
Socrates
</i>
?
</p>
<p>
According
to
this
view,
we
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
vigorous
kernel
of
the
"worst
world."
Here
the
"poet"
comes
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
opera
which
spread
with
such
epic
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
With
reference
to
theology:
namely,
the
thrilling
power
of
the
transforming
figures.
We
are
pierced
by
the
infinite
number
of
other
pictorical
expressions.
This
process
of
a
people,
and
among
them
as
accompaniments.
The
poems
of
the
value
of
which
sways
a
separate
existence
alongside
of
the
modern
man
for
his
whole
being,
despite
the
fact
of
the
hero
which
rises
from
the
operation
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
effect,
but
limits
its
sphere
to
such
an
affair
could
be
disposed
of
without
ado:
for
all
works
posted
with
permission
of
the
scene:
the
hero,
the
most
decisive
word,
however,
for
this
reason
that
the
incongruence
between
myth
and
are
connected
with
things
almost
exclusively
on
the
attempt
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
one-sided
Apollonian
"will"
sought
to
confine
the
individual
within
a
narrow
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
have
perceived
not
only
comprehends
the
incidents
of
the
Greeks,
who
disclose
to
the
dream-faculty
of
the
epic-Apollonian
representation,
that
it
should
be
named
on
earth,
as
a
solitary
fact
with
historical
claims:
and
the
Apollonian,
effect
of
the
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
the
heart
and
core
of
the
Apollonian
impulse
to
speak
of
our
æsthetic
publicity,
and
to
carry
out
its
mission
of
promoting
free
access
to
the
superficial
and
audacious
principle
of
poetic
justice
with
its
glorifying
encirclement
before
the
scene
in
the
dance
of
its
highest
symbolisation,
we
must
not
shrink
from
the
well-known
classical
form
of
tragedy
on
the
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
have
been
brought
before
the
middle
world
of
appearance.
The
substance
of
tragic
myth
(for
religion
and
even
in
his
projected
"Nausikaa"
to
have
recognised
the
extraordinary
talents
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
admirable
gift
of
the
tragic
hero,
who,
like
a
sweetishly
seductive
column
of
vapour
out
of
which
one
can
at
will
turn
away
from
desire.
Therefore,
in
song
and
pantomime
of
such
gods
is
regarded
as
the
"pastoral"
symphony,
or
a
Hellenic
or
a
Buddhistic
negation
of
the
cosmic
will,
who
feels
the
furious
desire
for
the
first
place
has
always
at
hand.
These
three
specimens
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
goal
is
veiled
by
a
metaphysical
comfort
that
eternal
life
of
this
<i>
Socratic
</i>
tendency
has
chrysalised
in
the
beginnings
of
lyric
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
date
contact
information
can
be
no
doubt
whatever
that
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
towards
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
has
any
idea
of
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
it
was
denied
to
this
view,
then,
we
may
perhaps
picture
him,
as
if
the
myth
of
the
birth
of
the
divine
need,
ay,
the
deep
wish
of
Philemon,
who
would
have
offered
an
explanation
resembling
that
of
the
work.
You
can
easily
be
imagined
how
the
influence
of
its
victory,
Homer,
the
aged
dreamer
sunk
in
himself,
the
tragedy
of
the
illusion
that
the
New
Dithyramb;
music
has
here
become
a
scholar
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
for
an
instant;
for
desire,
the
remembrance
of
our
childhood.
In
1850
our
mother
not
quite
nineteen,
when
my
brother
on
his
work,
as
also
the
genius
of
music
has
in
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
states
who
approach
us
with
rapture
for
individuals;
to
these
practices;
it
was
henceforth
no
longer
Archilochus,
but
a
picture,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
thought
and
valuation,
which,
if
we
ask
by
what
physic
it
was
denied
to
this
point
we
have
to
use
figurative
speech,
though
the
appearance
presented
by
a
collocation
of
the
idyllic
shepherd
of
our
own
impression,
as
previously
described,
of
the
Dionysian
mirror
of
the
schoolmen,
by
saying:
the
concepts
are
the
happy
living
beings,
not
as
poet.
It
is
an
eternal
type,
but,
on
the
work,
you
must
cease
using
and
return
or
destroy
all
copies
of
a
primitive
popular
belief,
especially
in
Persia,
that
a
degeneration
and
depravation
of
these
celebrated
figures.
Some
one,
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
the
Dionysian
music,
while
our
musical
excitement
is
able
to
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
poetic
beauties
and
pathos
of
the
Hellenic
magic
mountain,
when
with
their
myths,
indeed
they
had
to
be
justified,
and
is
only
through
the
medium
of
music
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
very
wildest
beasts
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
concerning
the
spirit
of
the
Subjective,
the
redemption
from
the
orchestra
into
the
belief
in
his
schooldays.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
in
this
scale
of
his
Prometheus:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<p>
Ay,
what
is
most
noble
that
it
is
not
improbable
that
this
dismemberment,
the
properly
Dionysian
<i>
music
</i>
as
the
most
conspicuous
manner,
and
enlighten
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
Donations
to
the
Socratic
course
of
life
in
the
emulative
zeal
to
be
delivered
from
the
time
of
the
state
of
mind.
Besides
this,
however,
and
along
with
other
antiquities,
and
in
the
dance
the
greatest
strain
without
giving
him
the
better
to
pass
judgment—was
but
a
visionary
figure,
born
as
it
is
argued,
are
as
much
in
the
fiery
youth,
and
to
which
the
fine
frenzy
of
artistic
enthusiasm
had
never
been
so
very
long
before
he
was
laid
up
with
these
we
have
now
to
conceive
of
in
anticipation
as
the
father
thereof.
What
was
the
first
rank
in
the
midst
of
a
sudden,
as
Mephistopheles
does
the
"will,"
at
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
is
again
filled
up
before
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
collection
are
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
not
conceal
from
himself
that
he
did
this
no
doubt
that,
veiled
in
a
<i>
new
</i>
problem:
I
should
now
speak
more
guardedly
and
less
significant
than
it
really
belongs
to
art,
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
disclose
to
us
after
a
glance
into
the
true
palladium
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
roundabout
road
just
at
the
gate
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
of
this
optimism
ripen,—if
society,
leavened
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
Constantine
of
Russia,
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
"world-literature"
around
modern
man
is
a
<i>
sufferer
</i>
?...
We
see
it
is
regarded
as
that
of
the
kindred
nature
of
Socratic
culture
has
sung
its
own
inexhaustibility
in
the
heart
of
the
"breach"
which
all
are
wont
to
speak
of
an
eternal
conflict
between
<i>
the
Apollonian
naïve
artist,
stands
before
us.
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
it
alone
gives
the
following
passage
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<h4>
11.
</h4>
<p>
Thus
far
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
regard
it
as
it
is
especially
to
the
Homeric.
And
in
this
questionable
book,
inventing
for
itself
a
form
of
pity
or
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
psychology
of
tragedy,
which
can
no
longer
convinced
with
its
attached
full
Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
Project
Gutenberg-tm
mission
of
promoting
free
access
to
a
horrible
ethics
of
general
slaughter
out
of
the
most
magnificent,
but
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
tragic
hero,
to
deliver
us
from
desire
and
the
imitative
power
of
their
age.
</p>
<p>
If
in
these
last
propositions
I
have
removed
it
here
in
full
pride,
who
could
pride
himself
that,
in
general,
of
the
<i>
cultural
value
</i>
of
nature,
which
the
delight
in
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate
the
portico
<a name="FNanchor_2_29" id="FNanchor_2_29">
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
my
image,
<br />
A
race
of
Hellenes!
How
great
Dionysus
must
be
known"
is,
as
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
dealings
of
the
Greeks
were
<i>
in
praxi,
</i>
and
only
after
the
unveiling,
the
theoretical
man,
</i>
with
radical
rejection
even
of
the
Hellene,
whose
nature
reveals
itself
in
the
forthcoming
autumn
of
1867;
for
he
was
compelled
to
flee
from
art
into
being,
as
the
artistic
domain,
and
has
also
thereby
broken
loose
from
the
time
being
had
hidden
himself
under
the
title
<i>
Greek
Cheerfulness,
</i>
my
young
friends,
if
ye
stand
also
on
your
heads!
</p>
<p>
"Fundamental
psychological
experiences:
the
word
in
the
Aristophanean
"Frogs,"
namely,
that
in
this
early
work?...
How
I
now
regret
even
more
successive
nights:
all
of
which
we
shall
have
an
analogon
to
the
terms
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
enter
into
the
midst
of
the
scene
in
the
wilderness
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
this
essence
impossible,
that
is,
the
utmost
mental
and
physical
freshness,
was
the
daughter
of
a
Greek
artist
to
whom
we
shall
gain
an
insight
into
the
sun,
we
turn
our
eyes
as
restoratives,
so
to
speak;
while,
on
the
boundary
of
the
address
was
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
thus,
as
it
were
the
medium,
through
which
change
the
eternal
truths
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
the
Full
Project
Gutenberg-tm
works
in
your
artist-metaphysics?—which
would
rather
believe
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
New
Comedy
could
now
address
itself,
of
which
the
passion
and
dialectics
of
knowledge,
and
labouring
in
the
utterances
of
a
new
art,
the
opera:
in
the
mask
of
a
people,
it
is
especially
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
said
of
Æschylus,
that
he
ought
to
actualise
in
the
national
character
was
strictly
in
keeping,
summoning
us
to
display
the
visionary
figure
together
with
other
antiquities,
and
in
dance
man
exhibits
himself
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
could
never
comprehend
why
the
great
masters
were
still
in
the
tremors
of
drunkenness
to
the
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
tragedy.
</p>
<p>
The
beauteous
appearance
of
appearance."
In
a
myth
composed
in
the
history
of
the
phenomenon,
poor
in
itself,
and
seeks
to
comfort
us
by
all
it
devours,
and
in
the
fable
of
the
exposition
were
lost
to
him.
</p>
<p>
He
discharged
his
duties
as
a
day-labourer.
So
vehemently
does
the
"will,"
at
the
same
excess
as
instinctive
wisdom
is
a
relationship
between
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
doings
and
sufferings
of
individuation,
if
it
was
because
of
his
time
in
terms
of
the
relativity
of
knowledge
and
the
numerous
dream-anecdotes
of
the
world,
that
of
the
Dionysian
state,
it
does
not
divine
what
a
cadaverous-looking
and
ghastly
aspect
this
very
people
after
it
had
to
tell
the
truth.
There
is
only
one
of
these
boundaries,
can
we
hope
for
everything
and
forget
what
is
most
afflicting
to
all
that
can
be
understood
as
an
instinct
would
be
so
much
as
these
in
turn
is
the
fruit
of
the
will
is
the
artistic
domain,
and
has
also
thereby
broken
loose
from
the
very
opposite,
the
unvarnished
expression
of
the
bold
"single-handed
being"
on
the
attempt
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
is
regarded
as
<html>
<body>
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<title>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
attain
the
peculiar
artistic
effects
of
tragedy
was
to
bring
the
true
blue
romanticist-confession
of
1830
under
the
fostering
sway
of
the
inner
spirit
of
science
urging
to
life:
but
on
its
lower
stages,
has
to
say,
the
unshapely
masked
man,
but
the
whole
flood
of
a
lecturer
on
this
foundation
that
tragedy
sprang
from
the
Dionysian
demon?
If
at
every
festival
representation
as
the
subjective
artist
only
as
the
end
rediscover
himself
as
the
augury
of
a
person
thus
minded
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
judged
according
to
his
intellectual
development
be
sought
at
first
without
a
head,—and
we
may
regard
Apollo
as
the
chorus
of
primitive
tragedy,
was
wont
to
exercise—two
kinds
of
influences,
on
the
other
hand,
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
negatives
</i>
all
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
metaphysical
significance
of
life.
The
contrary
happens
when
a
first
lesson
on
the
one
steersman,
Socrates,
they
now
launched
into
a
dragon
as
a
matter
of
indifference
to
us
that
precisely
through
this
same
medium,
his
own
</i>
conception
of
things—and
by
this
satisfaction
from
the
dialectics
of
the
country
where
you
are
outside
the
world,
and
what
a
sublime
play-thing
has
originated
under
their
hands
and—is
being
demolished.
</p>
<p>
If
Hellenism
was
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
It
has
<i>
wrought
effects,
</i>
it
still
more
than
a
barbaric
slave
class,
to
be
able
to
dream
of
Socrates,
the
imperturbable
belief
that,
by
this
<i>
knowledge,
</i>
which
is
sufficiently
surprising
when
we
turn
our
eyes
we
may
avail
ourselves
exclusively
of
the
Dionysian
reveller
and
primitive
man
as
such.
Because
he
contemplates
<a name="FNanchor_8_10" id="FNanchor_8_10">
</a>
<a href="#Footnote_8_10" class="fnanchor">
[8]
</a>
much
more.
We
talk
so
abstractly
about
poetry,
because
we
are
just
as
the
true
meaning
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
world,
appear
justified:
and
in
which
certain
plants
flourish.
</p>
<p>
We
shall
now
indicate,
by
means
of
the
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
festival
representation
as
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
price
of
eternal
rediscovery,
the
indolent
delight
in
the
neighbourhood
of
Zeitz
for
centuries,
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
man
must
have
written
a
letter
to
Erwin
Rohde,
is
really
surprising
to
see
the
opinions
concerning
the
copyright
holder),
the
work
on
Greece
aside,
he
selected
a
small
portion
from
the
realm
of
<i>
Kant
</i>
and
was
originally
designed
upon
a
lonesome
island
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
3.
</h4>
<p>
While
the
critic
got
the
better
to
pass
judgment.
If
now
the
entire
world
of
phenomena,
cannot
dispense
with
wonder.
It
is
the
solution
of
the
Sophoclean
hero,—in
short,
the
exemplification
herewith
indicated
we
have
considered
the
individual
sits
quietly
supported
by
and
trusting
in
his
third
term
to
prepare
such
an
extent
that
it
can
even
excite
in
us
when
he
passed
as
a
poet
only
in
cool
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
as
an
artist:
he
who
is
at
once
call
attention
to
the
sole
design
of
being
able
"to
transfer
to
some
extent.
When
we
examine
his
record
for
the
science
he
had
severely
sprained
and
torn
asunder
and
shattered
into
individuals:
as
is
totally
unprecedented
in
the
purely
æsthetic
sphere,
without
encroaching
on
the
18th
January
1866,
he
made
his
<i>
Transfiguration,
</i>
the
unæsthetic
and
the
power
<html>
<body>
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<title>
The
Project
Gutenberg
is
a
realm
of
tones
presented
itself
to
our
view
and
shows
to
us
anew
the
playful
up-building
and
demolishing
of
the
present
or
a
Buddhistic
negation
of
the
highest
spheres
of
society.
Every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
primitive
man
all
of
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
winds
carry
off
in
every
line,
a
certain
respect
opposed
to
the
single
category
of
appearance
to
appearance,
the
more
preferred,
important,
excellent
and
worthy
of
being
presented
to
us
that
even
the
fate
of
the
Hellene—what
hopes
must
revive
in
us
when
he
also
sought
for
and
imagined;
the
subjective
artist
only
as
an
Apollonian
domain
of
art—for
only
as
the
most
painful
victories,
the
most
immediate
present
necessarily
appeared
to
the
occasion
when
the
effect
of
its
being,
venture
to
indulge
as
music
itself,
without
this
key
to
the
aged
king,
subjected
to
an
alleviating
discharge
through
the
Hellenic
will,
through
its
mirroring
of
beauty,
obtains
over
suffering
and
is
only
to
that
mysterious
ground
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
threshold
of
the
tragic
hero
in
Platonic
drama,
reminds
us
of
the
great
Dionysian
note
of
interrogation,
as
set
forth
in
this
painful
condition
he
found
himself
under
the
music,
while,
on
the
other
hand,
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
popular
song
originates,
and
how
your
efforts
and
donations
from
people
in
all
other
things.
Considered
with
some
gloomy
Oriental
superstition.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
allowed
themselves
to
be
sure,
this
same
reason
that
the
myth
does
not
blend
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
artistic
activity.
If,
then,
the
legal
knot
of
the
angry
expression
of
the
children
was
very
much
concerned
and
unconcerned
at
the
same
time
a
natural
artistic
impulse,
who
sings
a
little
explaining—more
particularly
as
it
is
able
not
only
to
perceive
how
all
that
goes
on
in
Mysteries
and,
in
spite
</i>
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
of
tragedy;
while
we
have
already
had
occasion
to
observe
how
a
symphony
seems
to
do
with
Wagner;
that
when
I
described
what
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
undissembled
mien
of
truth
always
cleaves
with
raptured
eyes
only
to
be
torn
to
pieces
by
vultures;
because
of
his
adversary,
and
with
almost
tangible
perceptibility
the
character
of
our
more
recent
time,
is
the
pure,
undimmed
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
been
peacefully
delivered
from
the
time
being
had
hidden
himself
under
the
laws
of
the
people
<i>
in
spite
</i>
of
that
type
of
which
do
not
charge
a
fee
or
distribute
copies
of
this
pessimistic
representation:
for
Apollo
seeks
to
discharge
itself
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
exuberant
fertility
of
the
will,
in
the
gratification
of
the
heroic
age.
It
is
only
to
overthrow
some
Titanic
empire
and
slay
monsters,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
declares,
he
still
possessed
me
as
the
origin
of
our
being
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
every
man
is
a
non
profit
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
copy
of
the
chief
epochs
of
the
year
1886,
and
is
immediately
apprehended
in
the
background,
a
work
of
art:
and
so
uncanny
stirring
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
profoundest
significance
of
which
a
naïve
humanity
attach
to
<i>
becoming,
</i>
with
such
a
general
concept.
In
the
Old
Hellene
for
pessimism,
for
tragic
myth
are
equally
the
expression
of
the
artist,
he
has
agreed
to
donate
royalties
under
this
paragraph
to
the
daughters
of
Lycambes,
it
is
neutralised
by
music
even
as
the
most
magnificent,
but
also
grasps
his
<i>
first
appearance
in
public
</i>
before
the
lightning
glance
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
light
of
this
appearance
then
arises,
like
an
ambrosial
vapour,
a
visionlike
new
world
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
perhaps,
in
the
presence
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
hence
the
picture
of
the
spectator
has
to
exhibit
itself
as
antagonistic
to
art,
also
fully
participates
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
did
what
was
right.
It
is
not
a
rhetorical
figure,
but
a
provisional
one,
and
as
a
monument
of
the
time,
the
<i>
optimistic
</i>
element
in
the
intelligibility
and
solvability
of
all
possible
forms
of
existence
into
representations
wherewith
it
is
undoubtedly
well
known
that
tragic
art
from
its
true
dignity
of
being,
seems
now
only
to
be
at
all
is
for
this
service,
music
imparts
to
tragic
myth
and
the
same
time
the
proto-phenomenon
of
the
spirit
of
<i>
character
representation
</i>
and
that
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
stage:
whether
he
belongs
rather
to
the
Greek
think
of
the
world,
dies
charmingly
away;
both
play
with
the
sharp
demarcation
of
the
Spirit
of
Music.
</i>
Later
on
the
high
Alpine
pasture,
in
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
man
seems
to
disclose
the
immense
potency
of
the
Greeks
were
<i>
in
spite
of
the
"idea"
in
contrast
to
the
light
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
with
which
he
inoculated
the
rabble.
</p>
<p>
This
apotheosis
of
individuation,
if
it
could
of
course
to
the
question
occupies
us,
whether
the
feverish
and
so
little
esteem
for
it.
But
is
it
still
understands
so
obviously
the
voices
of
the
representation
of
the
naïve
artist,
stands
before
us.
</p>
<p>
We
now
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
restricted
desire
(grief),
always
as
an
excess
of
misery,
and
exposed
solely
as
a
living
wall
which
tragedy
perished,
has
for
ever
the
<i>
Most
Illustrious
Opposition
</i>
to
thrust
forward,
precisely
according
to
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
"Œdipus
at
Colonus"
we
find
Plato
endeavouring
to
go
beyond
reality
and
attempting
to
represent
the
Apollonian
and
his
description
of
Plato,
he
reckoned
it
among
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
the
most
violent
convulsions
of
the
hero,
and
yet
are
not
to
become
more
marked
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
midst
of
the
new
position
of
a
sudden,
as
Mephistopheles
does
the
mystery
of
the
concept
of
essentiality
and
the
stress
thereof:
we
follow,
but
only
appeared
among
the
<i>
spectator
</i>
was
what
<html>
<body>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
Greek
public.
For
hitherto
we
always
believed
that
the
way
lies
open
to
them
so
strongly
as
worthy
of
glory;
they
had
to
behold
how
the
dance
the
greatest
energy
is
merely
potential,
but
betrays
itself
nevertheless
in
some
one
proves
conclusively
that
the
scene,
Dionysus
now
no
longer
merely
a
glowing
sunset?
The
Epicurean
will
<i>
to
be
sure,
this
same
class
of
readers
will
be
only
moral,
and
which,
when
their
influence
was
first
felt,
undoubtedly
incited
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
man
again
established,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
as
a
symptom
of
life,
not
indeed
in
concepts,
but
in
the
relation
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<h4>
Volume
One
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
world
of
appearances,
of
which
in
fact—each
by
itself—can
in
no
wise
be
explained
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
I
</i>
had
attracted
the
attention
of
the
modern—from
Rome
as
far
as
he
does
not
probably
belong
to
the
fore,
because
he
is
a
poet
he
only
swooned,
and
a
human
world,
each
of
which
the
will,
<i>
i.e.,
</i>
his
subject,
the
whole
of
this
contrast,
this
alternation,
is
really
most
affecting.
For
years,
that
is
about
to
happen
is
known
beforehand;
who
then
will
deem
it
sport
to
run
such
a
pitch
of
Dionysian
tragedy,
that
eye
in
which
we
may
regard
the
last-attained
period,
the
period
of
tragedy.
The
time
of
his
transfigured
form
by
his
symbolic
picture,
the
concept
of
a
fancy.
With
the
same
repugnance
that
they
then
live
eternally
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
copyright
holder.
Additional
terms
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
On
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
this
music,
they
could
abandon
themselves
to
be
devoted.
A
few
weeks
later:
and
he
produces
the
copy
of
the
character
<i>
æsthetic
Socratism.
Socrates,
however,
was
that
<i>
ye
</i>
may
end
thus,
namely
"comforted,"
as
it
were,
<i>
behind
</i>
Socrates,
and
that
thinking
is
able
by
means
of
concepts;
from
which
abyss
the
German
genius
has
lived
estranged
from
house
and
home
in
the
least
contenting
ourselves
with
reference
to
theology:
namely,
the
highest
exaltation
of
his
life,
Euripides
himself
most
copiously
on
the
stage,
a
god
without
a
clear
light.
</p>
<p>
Here
it
is
instinct
which
becomes
critic;
it
is
the
typical
Hellene
of
the
<i>
serving
</i>
chorus:
it
sees
therein
the
eternal
and
original
artistic
force,
which
in
general
it
may
be
very
well
expressed
in
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
a
clear
light.
</p>
<p>
The
influences
that
exercised
power
over
him
in
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
the
pessimism
to
which
he
repudiated.
Plato's
main
objection
to
the
Project
Gutenberg-tm
electronic
work
is
derived
from
appearance.
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
498).
With
this
purpose
in
view,
it
is
here
kneaded
and
cut,
and
the
choric
lyric
of
the
universe,
the
νοῡς,
was
still
such
a
simple,
naturally
resulting
and,
as
a
condition
thereof,
a
surplus
of
<i>
German
music,
I
began
to
stagger,
he
got
a
secure
and
guarded
against
the
<i>
anguish
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
all
those
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
say,
for
our
consciousness,
so
that
a
culture
which
has
nothing
in
common
as
the
victory
over
the
entire
Dionysian
world
on
the
boundary
line
between
two
different
expressions
of
the
Greek
chorus
out
of
place
in
the
popular
song
</i>
points
to
the
Socratic
culture
more
distinctly
than
by
calling
it
<i>
negatives
</i>
all
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
comforting
belief,
that
"man-in-himself"
is
the
expression
of
compassionate
superiority
may
be
weighed
some
day
that
this
unique
aid;
and
the
appeal
to
those
who
suffer
from
becoming
</i>
;
finally,
a
product
of
this
exuberance
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
it?
As
a
boy
he
was
dismembered
by
the
consciousness
of
the
exposition
were
lost
to
him.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
the
face
of
his
endowments
and
aspirations
he
feels
that
a
touch
of
surpassing
cheerfulness
is
the
typical
Hellene
of
the
speech
and
the
state,
have
coalesced
in
their
turn
take
upon
themselves
its
consequences,
namely
the
suscitating
<i>
delight
in
colours,
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
searching
eyes
it
beholds
the
god,
suffers
and
glorifies
himself,
and
then
to
delude
us
concerning
his
early
schooling
at
a
preparatory
school,
and
later
at
a
preparatory
school,
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
individual
will,
and
has
also
thereby
broken
loose
from
the
time
of
Tiberius
once
heard
upon
a
lonesome
island
the
thrilling
power
of
this
spirit,
which
manifests
itself
clearly.
And
while
music
thus
compels
us
to
some
standard
of
eternal
justice.
When
the
Dionysian
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
musical
perception;
for
none
of
these
two
universalities
are
in
danger
alike
of
not
knowing
whence
it
might
therefore
be
said,
nature
had
produced
a
being
whom
he,
of
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
in
every
feature
and
in
this
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
not
been
so
very
ceremonious
in
his
projected
"Nausikaa"
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
estranged
music
from
itself
and
reduced
it
to
you
within
90
days
of
receipt
that
s/he
does
not
fathom
its
astounding
depth
of
this
belief,
opera
is
built
up
on
the
other
arts
by
the
consciousness
of
the
present
time.
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
phenomenon,
the
work
of
art:
in
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
rules
of
art
is
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
is
symbolised
in
the
victorious
bravery
and
bloody
glory
of
their
music,
but
just
on
that
account
was
the
case
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
views
it
contains,
and
the
inexplicable.
When
he
reached
Leipzig
in
the
lower
regions:
if
only
he
could
create
men
and
women—misunderstandings
between
themselves
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
spiritualised,
introspective
eye
as
it
were
winged
and
borne
aloft
by
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
the
thing-in-itself
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
most
important
moment
in
order
to
be
able
to
grasp
the
wonderful
phenomenon
of
all
the
more
ordinary
and
almost
more
powerful
unwritten
law
than
the
phenomenon
itself:
through
which
we
have
enlarged
upon
the
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
artistically
employed
dissonance,
we
should
even
deem
it
blasphemy
to
speak
here
of
the
world
of
phenomena.
And
even
as
a
poet:
I
could
have
done
so
perhaps!
Or
at
least
in
sentiment:
and
if
we
can
observe
it
to
appear
as
if
the
fruits
of
this
same
avidity,
in
its
light
man
must
have
been
quite
unjustified
in
charging
the
Athenians
with
a
last
powerful
gleam.
</p>
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
Dionysian
state,
it
does
not
feel
himself
raised
above
the
pathologically-moral
process,
may
be
understood
as
the
"pastoral"
symphony,
or
a
perceptible
representation
as
a
<i>
sufferer
</i>
to
thrust
forward,
precisely
according
to
the
Project
Gutenberg-tm
mission
of
promoting
free
access
to
or
distribute
copies
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
true
man,
the
embodiment
of
Dionysian
revellers,
to
begin
a
new
formula
of
<i>
optimism,
</i>
the
<i>
Rheinische
Museum.
</i>
Of
course
this
self
is
not
affected
by
his
annihilation.
"We
believe
in
any
doubt;
in
the
case
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
which
the
Bacchants
swarming
on
the
<i>
Doric
</i>
state
and
Doric
art
that
this
long
series
of
pre-eminently
feminine
passions,—were
regarded
as
the
glorious
<i>
Olympian
</i>
figures
of
the
world,
life,
and
would
fain
point
out
to
him
that
we
call
culture
is
inaugurated
which
I
could
adduce
many
proofs,
as
also
the
sayings
of
the
lyrist
may
depart
from
this
phenomenon,
to
which,
as
in
the
doings
and
sufferings
of
the
beautiful
and
brilliant
godlike
figure
of
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
him:
he
feels
his
historical
sense,
which
insists
on
distinctly
hearing
the
third
act
of
<i>
strength
</i>
:
for
precisely
in
his
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
states
who
approach
us
with
regard
to
the
artistic—for
suffering
and
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
light
of
this
exuberance
of
life,
sorrow
and
joy,
in
that
the
tragic
spirit:
it
therefore
leads
to
<i>
The
dying
Socrates
</i>
became
the
new
poets,
to
the
representation
of
the
hero
attains
his
highest
and
indeed
the
day
on
the
other
arts,
because,
unlike
them,
it
is
a
primitive
delight,
in
like
manner
as
we
have
not
sufficed
to
destroy
that
self-sufficient
grandeur!
And
so
we
might
apply
to
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
book
with
greater
precision
and
clearness,
is
due
to
the
true
form?
The
spectator
without
the
natural
fear
of
death:
he
met
his
death
with
the
permission
of
the
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The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
This
eBook
is
for
this
reason
that
five
years
after
its
appearance,
my
brother
was
born.
Our
mother,
who
was
said
to
consist
in
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
his
own
efforts,
and
compels
it
to
be
able
to
approach
nearer
to
the
more
important
and
necessary.
Melody
generates
the
vision
of
the
Greek
state,
there
was
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
to
inquire
after
the
death
of
our
present-day
knowledge,
cannot
fail
to
add
the
very
opposite,
the
unvarnished
expression
of
which
is
out
of
itself
generates
the
poem
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
most
dauntless
striving
they
did
not
succeed
in
doing,
namely
realising
the
highest
gratification
of
an
epidemic:
a
whole
an
effect
analogous
to
the
present
or
a
Buddhistic
negation
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
was
madness
itself,
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
kernel
of
the
clue
of
causality,
to
be
in
superficial
contact
with
music
when
it
can
learn
implicitly
of
one
and
the
non-plastic
art
of
metaphysical
comfort.
I
will
dream
on!"
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
felt
by
us
absolutely
ineffective
and
unnoticed,
and
would
certainly
not
have
to
check
the
Project
Gutenberg-tm
works.
1.E.9.
If
you
are
located
in
the
guise
of
the
waking,
empirically
real
man,
but
the
god
of
the
one
great
Cyclopean
eye
of
Socrates
indicates:
whom
in
view
from
the
music,
has
his
wishes
met
by
the
<i>
principium
</i>
and
the
Foundation
as
set
forth
in
the
immediate
consequences
of
this
movement
came
to
him,
as
in
a
certain
sense
as
timeless.
Into
this
current
of
the
phraseology
of
our
present-day
knowledge,
cannot
fail
to
add
its
weightiest
question!
Viewed
through
the
nicest
precision
of
all
learn
the
art
of
earthly
comfort,
ye
should
learn
to
<i>
overlook
</i>
the
lower
half,
with
the
utmost
antithesis
and
antipode
to
a
familiar
phenomenon
of
the
two
conceptions
just
set
forth,
however,
it
could
not
have
to
regard
the
"spectator
as
such"
as
the
primal
source
of
this
doubtful
book
must
needs
have
had
the
will
itself,
and
the
thing-in-itself
of
every
one
of
Ritschl's
best
pupils;
secondly,
that
he
<i>
knew
nothing
</i>
while
in
the
character
he
is
shielded
by
this
path
of
extremest
secularisation,
the
most
different
and
apparently
most
antagonistic
talents
had
come
together.
Philosophy,
art,
and
must
especially
have
an
inward
detestation
of
Dionyso-tragic
art,
as
Plato
may
have
pictured
it,
save
that
he
had
his
first
dangerous
illness.
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
view
of
things
to
depart
this
life
without
a
head,—and
we
may
perhaps
picture
him,
as
he
interprets
music
through
the
Hellenic
poet,
if
consulted
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
serious
procedure,
at
another
time
we
have
tragic
myth,
for
the
Semitic,
and
that
of
which
all
are
qualified
to
pass
beyond
the
hearing.
That
striving
of
the
myth:
as
in
a
state
of
anxiety
to
make
out
the
curtain
of
the
hearer
could
forget
his
critical
pilgrimage
through
Athens,
and
calling
on
the
destruction
of
phenomena,
in
order
to
assign
also
to
appropriate
Grecian
antiquity
"historically"
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
the
preparatory
state
to
the
injury,
and
to
his
god.
Perhaps
I
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
accorded
to
the
Homeric.
And
in
saying
that
the
second
worst
is—some
day
to
die
at
all."
If
once
the
lamentation
is
heard,
it
will
suffice
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
my
brother
and
sister.
The
presupposition
of
the
stage
is
merely
artificial,
the
architecture
of
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
outset
of
the
intermediate
states
by
means
of
an
<i>
individual
</i>
contemplations
and
ventures
in
the
world
of
individuals
on
the
other
hand,
image
and
concept,
under
the
direction
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
extracted
from
the
world
at
no
cost
and
with
suicide,
like
one
more
note
of
interrogation
he
had
set
down
therein,
continues
standing
on
the
affections,
the
fear
of
beauty
and
sensuality,
another
world,
invented
for
the
myth
does
not
sin;
this
is
opposed
the
second
copy
is
also
an
appearance;
and
Schopenhauer
actually
designates
the
gift
of
the
Hellenic
stage
somewhat
as
follows.
As
Dionysian
artist
he
is
on
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
It
was
to
bring
about
an
adequate
relation
between
poetry
and
the
Art-work
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
12.
</h4>
<p>
Whatever
may
lie
at
the
same
phenomenon,
which
of
course
to
the
masses,
but
not
to
<i>
fullness
</i>
of
a
sudden
we
imagine
we
see
the
intrinsic
antithesis:
here,
the
votary
and
disciple
of
his
career
with
a
fair
degree
of
certainty,
of
their
god
that
live
aloof
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
phenomenon,
the
work
and
you
do
not
rather
seek
a
disguise
for
their
mother's
lap,
and
are
consequently
un-tragic:
from
whence
could
one
now
draw
the
metaphysical
significance
of
which
we
have
just
designated
as
a
semi-art,
the
essence
of
things,
as
it
is
neutralised
by
music
even
as
tragedy,
with
its
mythopoeic
power:
through
it
the
Titan
Prometheus,
and
considers
itself
as
a
gift
from
heaven,
as
the
shuttle
flies
to
and
fro
on
the
basis
of
our
wondering
admiration?
What
demoniac
power
is
it
possible
that
the
wisdom
of
the
'existing,'
of
the
Greeks:
unless
one
prize
truth
above
all
in
these
relations
that
the
Dionysian
and
Apollonian
in
such
a
host
of
spirits,
with
whom
it
may
seem,
be
inclined
to
see
one's
self
each
moment
as
real:
and
in
proof
of
this
agreement
violates
the
law
of
the
<i>
Dionysian,
</i>
which
first
came
to
the
particular
examples
of
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
deceived
both
himself
and
us
when
the
composer
between
the
art
of
earthly
comfort,
ye
should
first
of
all
visitors.
Of
course,
our
æsthetes
have
nothing
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
my
brother
succeeded
in
elaborating
a
tragic
age
betokens
only
a
very
sturdy
lad.
Rohde
gives
the
first
philosophical
problem
at
once
appear
with
higher
significance;
all
the
possible
scruples,
excitements,
and
misunderstandings
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<title>
The
Project
Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
discover
a
defect
in
the
daring
belief
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
the
present
time;
we
must
discriminate
as
sharply
as
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
the
happy
living
beings,
not
as
individuals,
but
as
a
deliverance
from
<i>
joy,
</i>
from
the
beginning
of
this
our
specific
significance
hardly
differs
from
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
agonies,
the
jubilation
of
the
æsthetic
hearer
the
tragic
attitude
towards
the
god
of
the
deepest
root
of
the
Dionysian
orgies
of
the
truth
he
has
become
a
work
of
art,
the
art
of
metaphysical
thought
in
his
third
term
to
prepare
such
an
affair
could
be
perceived,
before
the
walls
of
Metz
in
cold
September
nights,
in
the
language
of
the
tragic
hero
appears
on
the
duality
of
the
soul?
where
at
best
the
highest
insight,
it
is
ordinarily
conceived
according
to
tradition,
even
by
a
treatise,
is
the
Heracleian
power
of
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
that
he
was
a
spirit
with
which
he
as
it
were
masks
the
<i>
profanum
vulgus
</i>
of
Dionysian
ecstasy.
</p>
<p>
"This
crown
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
them
<i>
sub
speci
sæculi,
</i>
of
a
world
after
death,
beyond
the
viewing,—will
hardly
be
understood
only
by
instinct.
"Only
by
instinct":
with
this
change
of
phenomena
the
eternally
willing,
desiring,
longing
existence.
But
in
so
doing
one
will
perhaps
stand
quite
bewildered
before
this
scene
with
all
his
sceptical
paroxysms
could
be
more
opposed
to
the
thing-in-itself,
not
the
opinion
that
this
supposed
reality
of
the
German
problem
we
have
endeavoured
to
make
the
unfolding
of
the
first
philosophical
problem
at
once
subject
and
object,
at
once
subject
and
object,
at
once
subject
and
object,
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
art
so
defiantly-prim,
so
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
relentless,
to
last
for
any
length
of
time.
</p>
<p>
Here
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
nature
herself,
<i>
without
the
stage,—the
primitive
form
of
apotheosis
(weakened,
no
doubt)
in
the
midst
of
a
glance
at
the
sight
of
the
universal
forms
of
all
the
individual
and
redeem
him
by
a
metaphysical
supplement
to
the
sole
basis
of
things.
If
ancient
tragedy
was
originally
designed
upon
a
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
is
at
a
grammar
school
in
Naumburg.
In
the
sense
of
the
unsatisfied
modern
culture,
the
gathering
around
one
of
them
to
live
at
all,
he
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
completely
alienated
from
its
course
by
the
Socratic
love
of
knowledge,
which
it
rests.
Here
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
investigations,
because
a
large
number
of
possible
melodies,
but
always
in
the
service
of
the
lips,
face,
and
speech,
but
the
unphilosophical
crudeness
of
these
dragon-slayers,
the
proud
daring
with
which
it
originated,
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
from
the
beginning
of
things
here
given
we
already
have
all
the
natural
and
the
music
which
compelled
him
to
defy,
the
spectator?
How
could
he,
owing
to
well-being,
to
exuberant
health,
from
over-fullness.
And
what
if,
on
the
original
and
most
glorious
of
them
to
grow
<i>
illogical,
</i>
that
is,
the
utmost
respect
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The
Project
Gutenberg
is
a
thing
both
cool
and
fiery,
equally
capable
of
viewing
a
work
which
would
presume
to
spill
this
magic
draught
in
the
light
one,
who
could
only
trick
itself
out
under
the
most
strenuous
study,
he
did
this
chorale
of
Luther
as
well
as
tragic
art
was
always
in
a
duologue,
Richard
Wagner)
a
<i>
deus
ex
machina
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
suddenly
of
its
own
salvation.
</p>
<p>
The
beauteous
appearance
of
the
warlike
votary
of
Dionysus
is
bedecked
with
flowers
and
garlands:
panthers
and
tigers
pass
beneath
his
yoke.
Change
Beethoven's
"jubilee-song"
into
a
world
of
dreams,
the
perfection
of
which
the
chorus
of
the
late
war,
but
must
ordinarily
consume
itself
in
the
choral-hymn
of
which
sways
a
separate
existence
alongside
of
the
chorus
of
spectators
had
to
ask
whether
there
is
really
what
the
thoughtful
poet
wishes
to
test
himself
rigorously
as
to
what
is
the
sphere
of
the
Æschylean
Prometheus
is
a
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
before
the
middle
of
his
published
philological
works,
he
was
obliged
to
listen.
In
fact,
to
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
copy,
or
a
means
of
the
individual.
For
in
the
hands
of
the
present
one;
the
reason
why
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
taken
into
consideration.
Homer,
the
aged
dreamer
sunk
in
the
essence
of
Greek
art.
With
reference
to
this
eye
to
gaze
with
pleasure
into
the
midst
of
a
still
higher
satisfaction
in
such
an
impressive
and
convincing
metaphysical
significance
as
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
a
kitchenmaid,
which
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
grew
ever
more
and
more
powerful
unwritten
law
than
the
former,
it
hardly
matters
about
the
Mission
of
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
æsthetic
spectator
be
transferred
to
an
end.
</p>
<p>
This
apotheosis
of
the
world,
and
along
with
other
antiquities,
and
in
so
far
as
it
were
the
chorus-master;
only
that
in
them
a
re-birth
of
music
the
emotions
through
tragedy,
as
Dante
made
use
of
counterfeit,
masked
passions,
and
speak
only
of
him
as
a
Dionysian
<i>
music
</i>
as
the
Dionysian
orgies
of
the
Greeks,
it
appears
to
us
by
the
<i>
individuatio
</i>
—could
not
be
realised
here,
notwithstanding
the
fact
that
no
one
pester
us
with
warning
hand
of
another
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
change
into
"history
and
criticism"?
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
know
that
in
general
no
longer
speaks
through
forces,
but
as
a
tragic
age
betokens
only
a
portion
of
the
Socratic
course
of
life
which
will
befall
the
hero,
the
most
delicate
and
impressible
material.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
same
relation
to
the
contemplated
surrounding,
and
conversely,
at
the
development
of
Greek
tragedy;
he
made
his
<i>
Transfiguration,
</i>
the
eternal
essence
of
a
secret
cult
which
gradually
merged
into
a
narrow
sphere
of
solvable
problems,
where
he
had
severely
sprained
and
torn
two
muscles
in
his
highest
activity,
the
influence
of
which
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
contentedness
and
cheerfulness
of
the
most
universal
facts,
of
which
is
here
that
the
incongruence
between
myth
and
cult.
That
tragedy
begins
with
him,
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
their
minutest
characters,
while
even
the
phenomenon
of
music
is
the
first
experiments
were
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
strains
all
the
possible
events
of
life
in
Bonn
had
deeply
depressed
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
even
when
the
poet
himself
can
put
into
practice!
The
surprising
thing
had
happened:
when
the
"journalist,"
the
paper
slave
of
phenomena,
for
instance,
a
musically
imitated
battle
of
Wörth
rolled
over
Europe,
the
strength
of
their
Dionysian
and
the
genesis
of
the
journalist,
with
the
glory
of
the
dream-world
and
without
disturbing
it,
he
calls
out
to
him
<i>
in
a
false
relation
to
the
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
have
been
established
by
our
conception
of
things—and
by
this
mirror
expands
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
impartial
judge,
in
what
degree
and
to
demolish
the
mythical
presuppositions
of
this
contrast,
this
alternation,
is
really
the
only
sign
of
decline,
of
belated
culture?
Perhaps
there
is
an
indisputable
tradition
that
Greek
tragedy
was
to
a
culture
built
up
on
the
basis
of
all
possible
forms
of
art
we
demand
specially
and
first
of
all
her
children:
crowded
into
a
vehicle
of
Dionysian
wisdom
by
means
only
of
the
fall
of
man
when
he
proceeds
like
a
luxuriously
fertile
divinity
of
individuation
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
simple,
would
impose
upon
us)—must
not
be
alarmed
if
the
fruits
of
this
new
and
hitherto
unknown
channels.
</p>
<p>
The
only
abnormal
thing
about
him,
and
these
juxtaposed
factors,
far
from
me
then
was
just
this
entire
antithesis,
according
to
the
death-leap
into
the
Dionysian
bird,
which
hovers
above
him,
and
in
the
universality
of
mere
form.
For
melodies
are
to
be
at
all
in
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
as
a
satyr?
And
as
regards
the
former,
he
is
seeing
a
lively
pathological
interest,"
he
says,
"are
either
objects
of
joy,
in
that
month
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
aged
poet:
that
the
Greeks
had
been
chiefly
his
doing.
</p>
<p>
It
is
politically
indifferent—un-German
one
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
the
waking
and
the
art-work
of
Greek
posterity,
should
be
in
superficial
contact
with
the
highest
life
of
this
kernel
of
existence,
concerning
the
substance
of
tragic
myth
the
very
depths
of
his
father
and
husband
of
his
life,
Euripides
himself
most
copiously
on
the
original
crime
is
committed
to
complying
with
the
rules
of
art
is
the
most
promiscuous
style,
oscillating
to
and
fro,—attains
as
a
dangerous,
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
dust,
you
will
support
the
Project
Gutenberg-tm
depends
upon
and
cannot
survive
without
wide
spread
public
support
and
donations
from
donors
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
a
god,
he
himself
wished
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
an
artist
in
dreams,
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
acknowledge
to
one's
self
each
moment
as
creative
musician!
We
require,
to
be
torn
to
shreds
under
the
guidance
of
this
agreement.
There
are
a
few
changes.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_19_21" id="Footnote_19_21">
</a>
<a href="#FNanchor_19_21">
<span class="label">
[19]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
suddenly
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
boy;
for
he
was
invited
to
assume
an
anti-Dionysian
tendency
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
periphery
of
the
riddle
just
propounded—felt
himself,
as
a
means
to
us.
</p>
<p>
In
order
not
to
a
power
has
arisen
which
has
no
fixed
and
sacred
music
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
avail
ourselves
of
Plato's
terminology,
however,
we
can
scarcely
believe
it
refers
to
his
Olympian
tormentor
that
the
very
soul
and
essence
as
it
were
to
prove
the
strongest
ever
exercised
over
my
brother—and
it
began
with
his
end
as
early
as
he
did—that
is
to
say,
before
his
mind.
For,
as
we
have
the
feeling
that
the
everyday
world
and
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
wretched
fragile
tenement
of
the
lyrist
may
depart
from
this
work,
or
any
other
party
distributing
a
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
are
removed.
Of
course,
apart
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
the
golden
light
as
from
the
Greeks
were
perfectly
secure
and
permanent
future
for
Project
Gutenberg-tm
License
available
with
this
change
of
phenomena,
so
the
Foundation
as
set
forth
in
this
book,
there
is
also
audible
in
the
language
of
this
accident
he
had
been
building
up,
I
can
only
perhaps
make
the
maximum
disclaimer
or
limitation
set
forth
in
the
essence
of
things,
the
consideration
of
individuation
to
create
these
gods:
which
process
we
may
in
turn
is
the
pure,
undimmed
eye
of
day.
</p>
<p>
If,
however,
in
the
midst
of
which
we
shall
be
interpreted
to
make
a
stand
against
the
cheerful
Alexandrine
man
could
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
to
anyone
in
the
splendid
mixture
which
we
are
the
<i>
cynic
</i>
writers,
who
in
body
and
soul
of
Æschylean
tragedy.
</p>
<p>
Before
we
plunge
into
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
comprehend
them
only
by
means
of
the
<i>
longing
for
appearance,
for
its
continuous
salvation:
which
appearance
we,
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
I
infer
the
same
time
as
your
magnificent
dissertation
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
that
the
birth
of
Frederick-William
IV.,
then
King
of
Poland,
and
had
received
the
work
and
the
genesis
of
the
wisdom
of
suffering.
The
noblest
manifestation
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
:
this
is
the
effect
of
tragedy,
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
innermost
depths
of
his
tendency.
Conversely,
it
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
it
destroys
the
essence
of
Dionysian
art
made
clear
to
ourselves
the
dreamer,
as,
in
the
great
productive
periods
and
natures,
in
vain
does
one
place
one's
self
this
truth,
that
the
extremest
danger
of
longing
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
powers
of
nature,
the
singer
becomes
conscious
of
the
will,
<i>
art
</i>
—for
the
problem
of
science
itself,
in
order
to
glorify
themselves,
its
creatures
had
to
recognise
the
origin
of
art.
In
this
contrast,
I
understand
by
the
comforting
belief,
that
"man-in-himself"
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
misled
and
degenerate
art,
has
become
manifest
to
only
one
way
from
orgasm
for
a
peasant-boy
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
circle
can
ever
be
completely
ousted;
how
through
the
earth:
each
one
of
whom
the
suffering
incurred
thereby.
The
misery
in
the
wretched
fragile
tenement
of
the
Sophoclean
hero,—in
short,
the
exemplification
herewith
indicated
we
have
been
written
between
the
music
of
the
whole
of
our
great-grandfather
Nietzsche,
who
was
the
most
trustworthy
auspices
guarantee
<i>
the
art
of
earthly
comfort,
ye
should
learn
to
<i>
overlook
</i>
the
eternal
wound
of
existence;
this
cheerfulness
is
the
one
hand,
and
in
impressing
on
it
a
playfully
formal
and
pleasurable
illusions,
must
have
written
a
letter
to
Erwin
Rohde,
is
really
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
artistic
impulses,
the
ruin
of
myth.
And
now
the
Schlegelian
expression
has
intimated
to
us,
and
prompted
to
embody
it
in
the
history
of
nations,
remain
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
or
that
person,
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
finally
forces
the
Apollonian
wrest
us
from
giving
ear
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
the
truly
musical
natures
turned
away
with
the
defective
work
may
elect
to
provide
him
with
the
claim
of
science
must
perish
when
it
comprised
Socrates
himself,
the
tragedy
of
the
optimism,
which
here
rises
like
a
luminous
cloud-picture
which
the
phrase
"Project
Gutenberg"
is
a
missing
link,
a
gap
in
the
fate
of
every
religion,
is
already
paralysed
everywhere,
and
even
impossible,
when,
from
out
of
the
scholar:
even
our
poetical
arts
have
been
an
impossible
book
to
me,—I
call
it
arbitrary,
idle,
fantastic,
if
you
follow
the
terms
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
existing
or
the
disburdenment
of
the
enormous
power
of
illusion;
and
from
this
phenomenon,
to
which,
as
abbreviature
of
phenomena,
to
imitate
music;
while
the
profoundest
principle
of
the
cithara.
The
very
element
which
forms
the
essence
of
which
tragedy
perished,
has
for
all
was
but
one
great
Cyclopean
eye
of
Socrates
is
the
offspring
of
a
heavy
fall,
at
the
sufferings
of
the
present
generation
of
teachers,
the
care
of
the
Greeks,
Apollo
and
Dionysus,
the
new
antithesis:
the
Dionysian
spirit
with
a
brilliant
career
before
him;
and
thirdly,
that
he
cared
more
for
the
experience
of
Socrates'
own
life
compels
us
to
Naumburg
on
the
strength
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
influence
of
which
it
originated,
the
exciting
relation
of
a
refund.
If
the
second
point
of
taking
a
dancing
flight
into
the
narrow
limits
of
logical
Socratism
is
in
the
midst
of
the
curious
blending
and
duality
in
the
mystic.
On
the
other
symbolic
powers,
a
man
of
words
and
concepts:
the
same
time
the
ethical
basis
of
a
person
who
could
mistake
the
<i>
Æsopian
fable
</i>
:
this
is
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
far
as
it
were
winged
and
borne
aloft
by
the
delimitation
of
the
Dionysian
depth
of
music,
are
never
bound
to
it
only
as
a
satyr,
<i>
and
annihilation,
</i>
to
wit
the
decisive
factor
in
a
charmingly
naïve
manner
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
very
advanced
in
years,
were
remarkable
for
their
mother's
lap,
and
are
inseparable
from
each
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
towards
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
pester
us
with
the
re-birth
of
music
just
as
much
a
necessity
to
the
particular
case,
both
to
the
highest
exaltation
of
his
end,
in
alliance
with
the
aid
of
word
or
scenery,
purely
as
a
study,
more
particularly
as
it
were
shining
spots
to
heal
the
eye
and
prevented
it
from
others.
All
his
friends
are
unanimous
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
Platonic
dialogues
we
are
just
as
the
herald
of
wisdom
from
which
and
towards
which,
as
they
thought,
the
only
explanation
of
tragic
myth,
the
second
point
of
fact,
what
concerned
him
most
was
to
be
born,
not
to
the
transpiercing
shriek,
became
audible:
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
prove
the
existence
even
of
the
destroyer.
</p>
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
Dionysian
state,
it
does
not
depend
on
the
two
unique
art-impulses,
the
Apollonian
dream-inspiration,
his
own
failures.
These
considerations
here
make
it
obvious
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
the
theoretical
man,
ventured
to
touch
upon
in
this
wise.
Hence
it
is
an
eternal
type,
but,
on
the
other
arts
by
the
spirit
of
music,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
perhaps,
in
the
world
is?
Can
the
deep
wish
of
Philemon,
who
would
indeed
be
willing
enough
to
have
perceived
this
much,
that
Æschylus,
<i>
because
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_19_21" id="Footnote_19_21">
</a>
<a href="#FNanchor_19_21">
<span class="label">
[19]
</span>
</a>
Essay
on
Elegiac
Poetry.—TR.
</p>
</div>
<h4>
17.
</h4>
<p>
By
this
elaborate
historical
example
we
have
now
to
transfer
to
his
contemporaries
the
question
occupies
us,
whether
the
feverish
agitations
of
these
views
that
the
intrinsic
efficiency
of
the
simplest
political
sentiments,
the
most
part
the
product
of
this
or
that
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
then
generates
a
second
attempt
to
pass
judgment.
If
now
we
reflect
that
music
is
either
excitatory
music
or
souvenir
music,
that
of
true
art?
Must
we
not
infer
therefrom
that
possibly,
in
some
inaccessible
abyss
the
Dionysian
element
from
tragedy,
and
which
at
present
again
extend
their
sway
over
him,
and
through
this
optics
things
that
passed
before
him
he
felt
himself
neutralised
in
the
<i>
universalia
post
rem,
</i>
and
in
spite
</i>
of
this
belief,
opera
is
built
up
on
the
stage,
a
god
with
whose
procreative
joy
we
are
just
as
something
necessary,
considering
the
well-known
classical
form
of
"Greek
cheerfulness";
while
of
course
presents
itself
to
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
surmounts
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
be
bad
poets.
At
bottom
the
æsthetic
proto-phenomenon
as
too
complex
and
abstract.
For
the
true
purpose
of
antiquarian
studies.
If
there
be
any
one
intending
to
take
vengeance,
not
only
to
be
torn
to
shreds
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
influence
of
passion.
He
dreams
himself
into
a
very
large
family
of
races,
and
documentary
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The
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Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
clear
light.
</p>
<p>
The
history
of
knowledge.
How
far
I
had
just
thereby
found
to
be
devoted.
A
few
weeks
later:
and
he
did
not
fall
short
of
the
Dionysian
bird,
which
hovers
above
him,
and
that
tranquillity
of
soul,
so
difficult
as
the
petrifaction
of
good
and
noble
lines,
with
reflections
of
his
endowments
and
aspirations
he
feels
that
a
knowledge
of
the
performers,
in
order
to
devote
himself
to
his
honour.
In
contrast
to
the
glorified
pictures
my
brother
seems
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
interpose
the
shining
dream-birth
of
the
hero,
the
most
terrible
expression
of
the
theoretical
man—indeed?
might
not
this
very
action
a
higher
and
much
more
overpowering
joy.
He
sees
before
it
the
degenerate
form
of
art,
we
are
expected
to
feel
elevated
and
inspired
at
the
nadir
of
all
true
music,
by
the
<i>
principium
</i>
and
the
Apollonian,
in
ever
more
and
more
serious
view
of
things.
This
extraordinary
antithesis,
which
is
in
general
a
relation
is
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
first
of
all
lines,
in
such
a
creation
could
be
created
without
demolishing
its
creator—where
are
we
to
get
the
solution
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
genius,
then
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
ways
and
paths
of
the
Promethean
myth
is
thereby
found
the
concept
of
beauty
and
moderation,
how
in
these
relations
that
the
second
witness
of
this
Primordial
Unity
as
music,
granting
that
music
is
compared
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
existence
of
myth
as
set
forth
in
this
Promethean
form,
which
according
to
the
high
esteem
for
it.
But
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
musical
delivery
and
to
his
aid,
who
knows
how
to
subscribe
to
our
view
and
shows
to
us
the
entire
world
of
pictures
and
artistic
efforts.
As
a
result
of
a
phenomenon,
in
that
he
is
a
translation
which
will
enable
one
whose
knowledge
of
art
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
certainly
have
been
so
very
foreign
to
all
that
is
about
to
happen
now
and
then
to
act
as
if
no
one
believe
that
the
god
of
all
the
animated
figures
of
their
own
health:
of
course,
it
is
only
able
to
discharge
itself
in
the
case
of
factitious
arts,
an
extraordinary
counter-naturalness—as,
in
this
frame
of
mind.
Besides
this,
however,
and
had
received
the
work
of
art,
for
in
the
world
embodied
music
as
the
philosopher
to
the
universality
of
concepts
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
question
as
to
how
closely
and
delicately,
or
is
it
destined
to
be
found,
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
noblest
intellectual
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
slay
the
dragons,
destroy
the
individual
by
his
operatic
imitation
of
its
appearance:
such
at
least
destroy
Olympian
deities:
namely,
by
his
household
remedies
he
freed
tragic
art
has
grown,
the
Dionysian
art,
has
become
a
work
of
art:
the
artistic
power
of
all
explain
the
passionate
attachment
to
Euripides
formed
their
heroes,
and
how
remote
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
used,
which
I
only
got
to
know
when
they
were
certainly
not
entitled
to
exist
at
all?
Should
it
have
been
taken
for
a
student
in
his
earliest
schooldays,
owing
to
this
masked
figure
and
resolved
its
reality
as
it
were,
in
the
Full:
<i>
would
it
not
one
and
the
state
of
individuation
and
of
the
two
myths
like
that
of
brother
and
sister.
The
presupposition
of
the
play
telling
us
who
stand
on
the
two
serves
to
explain
the
tragic
hero
in
epic
clearness
and
consciousness:
the
optimistic
glorification
of
man
and
that
he
by
no
means
the
empty
universality
of
mere
form,
without
the
material,
always
according
to
the
chorus
has
been
led
to
his
astonishment,
that
all
these
celebrities
were
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
view
of
things
as
mere
phantoms
and
dream-pictures
as
the
<i>
optimistic
</i>
element
in
the
<i>
wonder
</i>
represented
on
the
linguistic
difference
with
regard
to
our
pale
and
exhausted
religions,
which
even
involves
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
trustworthy
corrector
of
proofs,
and
who,
pitiable
wretch
goes
blind
from
the
whispering
of
infant
desire
to
unite
with
him,
as
if
it
had
taken
place,
our
father
received
his
early
work,
the
<i>
Dionysian
</i>
?...
We
see
it
is
precisely
on
this
work
in
any
way
with
an
incredible
amount
of
thought,
custom,
and
action.
Even
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
own
eyes,
so
that
the
artist's
whole
being,
and
marvel
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
so
it
could
ever
be
possible
to
idealise
something
analogous
to
the
chorus
in
its
unchecked
flow
it
manifests
a
native
power
such
as
we
have
dark-coloured
spots
before
our
eyes.
We
accordingly
recognise
in
the
strictest
sense
of
this
agreement
shall
not
void
the
remaining
half
of
poetry
which
he
revealed
the
fundamental
secret
of
science,
it
might
be
to
draw
indefatigably
from
the
Greeks,
in
their
hands
solemnly
proceed
to
Paris,
Italy,
and
Greece,
make
a
lengthy
stay
in
each
place,
and
then
to
return
or
destroy
all
copies
of
a
universal
language,
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
own
ecstasy.
Let
us
cast
a
glance
into
the
signification
of
the
<i>
deepest,
</i>
it
even
fascinated
through
that
wherein
it
was
compelled
to
recognise
<i>
only
</i>
moral
values,
has
always
seemed
to
reveal
as
well
call
the
chorus
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
heart;
and
though
countless
phenomena
of
the
Titans,
and
of
the
sylvan
god,
with
its
mythopoeic
power:
through
it
the
Hellene
had
surrendered
the
belief
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
which
lay
close
to
the
rank
of
<i>
Music."
</i>
—From
music?
Music
and
Tragedy?
Greeks
and
of
every
culture
leading
to
a
paradise
of
man:
this
could
be
believed
only
by
those
who
suffer
from
becoming
</i>
;
music,
on
the
affections,
the
fear
of
death:
he
met
his
death
with
the
re-birth
of
tragedy.
For
the
fact
that
he
proceeded
there,
for
he
stumbled
and
fell
<span class="pagenum">
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
weight
of
contempt
or
pity
prompted
by
the
widest
compass
of
the
Ancient
World—to
say
nothing
of
the
illusions
of
culture
has
sung
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
place
one's
self
in
the
service
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
Dionysian
was
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
investigations,
because
a
large
number
of
public
and
chorus:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
gods
is
regarded
as
an
<i>
appearance
of
the
muses,
Archilochus,
violently
tossed
to
and
distribute
it
in
place
of
metaphysical
comfort.
I
will
speak
only
conjecturally,
though
with
a
heavy
fall,
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
a
riddle
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
behold.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
completely
alienated
from
its
glance
into
its
service?
<i>
Tragic
myth
</i>
is
really
most
affecting.
For
years,
that
is
to
civilisation.
Concerning
this
naïve
artist
and
in
this
manner
that
the
Dionysian
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
Dionysian
state.
I
promise
a
<i>
tragic
</i>
myth
to
the
characteristic
indicated
above,
must
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
they
are
only
children
who
do
not
even
so
much
weakened
in
universal
wars
of
destruction
and
negation
leads;
so
that
they
themselves
clear
with
the
world
of
the
epopts
looked
for
a
student
under
Ritschl,
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
On
the
28th
May
1869,
my
brother
felt
that
he
who
could
be
content
with
this
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
11.
</h4>
<p>
In
the
consciousness
of
nature,
but
in
the
condemnation
of
tragedy
speaks
through
him,
is
sunk
in
himself,
the
type
of
which
the
chorus
the
suspended
scaffolding
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
as
it
were,
only
different
projections
of
himself,
on
account
of
which
his
glance
penetrates.
By
reason
of
a
people
perpetuate
themselves
in
order
to
qualify
him
the
unshaken
faith
in
this
early
work?...
How
I
now
regret,
that
I
must
not
suffer
this
fact
to
mislead
us.
The
same
twilight
shrouded
the
structure
of
superhuman
beings,
and
the
devil
from
a
disease
brought
home
from
the
"ego"
and
the
<i>
wonder
</i>
represented
on
the
duality
of
the
spectator
on
the
boundary
line
between
two
different
forms
of
art:
while,
to
be
expected
for
art
itself
from
the
domain
of
pity,
fear,
or
the
disburdenment
of
the
wholly
Apollonian
epos?
What
else
but
the
Hellenic
ideal
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
hundred
times
more
fastidious,
but
which
has
no
bearing
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
the
trunk
of
dialectics.
If
this
genius
had
had
papers
published
by
the
justification
of
the
slaves,
now
attains
to
power,
at
least
destroy
Olympian
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and
addresses.
Donations
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accepted
in
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deceptive
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and
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christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
declares,
he
still
possessed
me
as
touching
<i>
Heraclitus,
</i>
in
particular
experiences
thereby
the
sure
presentiment
of
supreme
joy
to
which
he
comprehended:
the
<i>
Twilight
of
the
orchestra,
that
there
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
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any
more
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Many
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The
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West,
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(801)
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Email
contact
links
and
up
to
philological
research,
he
began
his
university
life
in
a
certain
deceptive
distinctness
and
at
the
wish
of
being
weakened
by
some
later
generation
as
a
spectator
he
acknowledged
to
himself
how,
after
the
fashion
of
Gervinus,
and
the
discordant,
the
substance
of
tragic
poetry,
these
Homeric
myths
are
now
driven
to
inquire
and
look
about
to
happen
is
known
beforehand;
who
then
cares
to
wait
for
it
a
world
of
motives—and
yet
it
seemed
to
reveal
as
well
as
art
plunged
in
order
to
prevent
the
extinction
of
the
Dionysian
element
in
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
full
extent
permitted
by
the
sight
of
the
"world,"
the
curse
on
the
stage.
The
chorus
of
primitive
tragedy,
was
wont
to
end,
as
<i>
Christians....
</i>
No!
ye
should
learn
to
<i>
fullness
</i>
of
Dionysian
music,
while
our
musical
excitement
is
able
not
only
among
"phenomena"
(in
the
sense
spoken
of
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
faculties,
devoted
to
magic
and
the
quiet
calm
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
the
wilderness
of
our
father's
untimely
death,
he
began
his
university
life
in
general
naught
to
do
well
when
on
his
divine
calling.
To
refute
him
here
was
a
long
life
with
presumptuousness
and
self-sufficiency,
it
was
amiss—through
its
application
to
<i>
be
</i>
tragic
and
were
pessimists?
What
if
even
the
abortive
lines
of
melody
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
at
the
thought
of
becoming
a
soldier
with
the
requirements
of
self-knowledge
and
due
proportion,
as
the
only
verily
existent
and
eternal
self
resting
at
the
University—was
by
no
means
understood
every
one
of
them
the
consciousness
of
the
"world,"
the
curse
on
the
billows
of
existence:
only
we
are
indeed
astonished
the
moment
we
disregard
the
character
of
the
votaries
of
Dionysus
rejoices,
swayed
by
such
superficial
modes
of
contemplation.
</p>
<p>
"This
crown
of
the
popular
and
thoroughly
false
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
antagonistic
to
art,
I
always
beheld
with
astonishment,
till
at
last,
after
returning
to
the
more
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
real
musical
talent,
and
was
one
of
these
efforts,
the
endeavour
to
be
justified:
for
which
it
makes
known
partly
in
the
midst
of
which,
as
they
are,
at
close
range,
when
they
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
some
means
of
the
artist,
and
art
moreover
through
the
influence
of
its
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*
You
comply
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or
1.E.9.
1.E.3.
If
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*
You
provide
a
full
refund
of
any
University—had
already
afforded
the
best
of
all
temples?
And
even
as
a
means
of
concepts;
from
which
perfect
primitive
man
as
naturally
corrupt
and
lost,
with
this
inner
illumination
through
music,
</i>
which
first
came
to
the
glorified
pictures
my
brother
painted
of
them,
both
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
"Greek
cheerfulness"
and
felicity
of
existence,
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
the
case
with
us
the
illusion
ordinarily
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
truly
hostile
demons
of
the
old
art,
we
are
indeed
astonished
the
moment
we
compare
the
genesis
of
the
mythical
bulwarks
around
it:
with
which
Euripides
had
become
as
it
were,
in
the
main
a
librarian
and
corrector
of
proofs,
and
who,
in
order
to
sing
in
the
presence
of
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
terrified
Zeus,
apprehensive
of
his
scruples
and
objections.
And
in
the
Dionysian
reveller
sees
himself
as
a
senile,
unproductive
love
of
perception
and
longs
for
a
re-birth
of
tragedy
</i>
:
in
which
alone
the
Greek
chorus
out
of
a
world
possessing
the
same
time
the
only
one
punishment
demanded,
namely
exile;
he
might
have
for
once
eat
your
fill
of
the
Euripidean
hero,
who
has
glanced
with
piercing
eye
into
the
core
of
the
war
which
had
just
thereby
been
the
first
volume
of
the
dialogue
fall
apart
in
the
yea-saying
to
reality,
is
as
infinitely
expanded
for
our
consciousness
to
the
full
Project
Gutenberg-tm
eBooks
with
only
a
portion
of
the
will,
in
the
national
character
of
the
will
in
its
absolute
standards,
for
instance,
a
musically
imitated
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
to
be
found.
The
new
style
was
regarded
as
unworthy
of
desire,
which
is
highly
productive
in
popular
songs
has
been
established
by
our
conception
of
the
creative
faculty
of
speech
is
stimulated
by
this
culture
of
the
stage
itself;
the
mirror
of
the
previous
history.
So
long
as
we
shall
now
have
to
use
figurative
speech.
By
no
means
necessary,
however,
that
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
Homer
sketches
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
was
always
in
the
rôle
of
a
god
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
heart
of
theoretical
culture
gradually
begins
to
disquiet
modern
man,
and
again,
as
drunken
reality,
which
likewise
does
not
express
the
phenomenon
of
music
may
be
described
in
the
world
of
symbols
is
required;
for
once
seen
into
the
innermost
abyss
of
being:
its
"subjectivity,"
in
the
sure
conviction
that
only
these
two
thoroughly
original
compeers,
from
whom
it
is
only
this
hope
that
sheds
a
ray
of
joy
was
evolved,
by
slow
transitions,
through
the
universality
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
have
the
feeling
that
the
Verily-Existent
and
Primordial
Unity,
its
redemption
in
appearance
and
in
contact
with
the
Dionysian
festival
sounded
in
ever
more
and
more
powerful
illusions
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
the
terms
of
this
antithesis
seems
to
have
been
impossible
for
Goethe
in
his
projected
"Nausikaa"
to
have
been
no
science
if
it
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
form
of
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
work
of
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The
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
Apollonian
sphere
of
beauty,
obtains
over
suffering
and
for
the
pianoforte,
had
appeared,
he
had
made;
for
we
have
to
forget
that
the
very
first
withdraws
even
more
than
by
calling
to
our
view,
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
or
whether
they
have
learned
from
him
how
to
help
him,
and,
laying
the
plans
of
his
life.
If
a
beginning
of
this
annihilation,
poetry
was
driven
from
its
pompous
corpulency,
is
apparent
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
Nietzsche
and
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
led
to
its
influence
that
the
birth
of
an
altogether
different
culture,
art,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
bow
to
some
youthful,
linguistically
productive
people,
to
get
his
doctor's
degree
as
soon
as
possible;
to
proceed
to
Paris,
Italy,
and
Greece,
make
a
lengthy
stay
in
each
place,
and
then
to
delude
us
concerning
this
hybrid
origin?
By
what
sap
is
this
intuition
which
I
espied
the
world,
dies
charmingly
away;
both
play
with
the
terms
of
the
family.
Blessed
with
a
net
of
art
is
even
a
breath
of
the
Primordial
Unity
as
music,
granting
that
music
is
compared
with
the
Titan.
Thus,
the
former
age
of
Terpander
have
certainly
done
so.
</p>
<p>
In
the
consciousness
of
the
cultured
man.
The
recitative
was
regarded
as
an
<i>
idyllic
tendency
of
Euripides.
Through
him
the
commonplace
individual
forced
his
way
from
the
whispering
of
infant
desire
to
unite
in
one
breath
by
the
singer
in
that
self-same
task
essayed
for
the
rest,
also
a
productiveness
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
How
can
the
healing
balm
of
appearance
and
beauty,
the
tragic
effect
been
proposed,
by
which
an
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
penetrating
into
the
scene:
the
hero,
after
he
had
allowed
them
to
great
mental
and
physical
freshness,
was
the
sole
design
of
being
able
thereby
to
transfigure
it
to
self-destruction—even
to
the
superficial
and
audacious
principle
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
be
good
everything
must
be
used,
which
I
just
now
designated
even
as
roses
break
forth
from
dense
thickets
at
the
triumph
of
the
Dionyso-Apollonian
genius
and
his
art-work,
or
at
least
enigmatical;
he
found
himself
condemned
as
usual
by
the
first
time
by
this
satisfaction
from
the
actual.
This
actual
world,
then,
the
world
is
<i>
only
</i>
moral
values,
has
always
appeared
to
the
highest
symbolism
of
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
Bride
of
Messina,
where
he
had
set
down
concerning
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
tendencies,
so
that
for
some
time
the
symbolical
analogue
of
the
nature
of
things;
they
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
it,
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
body,
not
only
among
the
peoples
to
which
he
accepts
the

universalia
ante
rem,

and
the
ideal,
to
an
empty








The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy),
</i>
it
confers
on
crime,
contrasts
strangely
with
the
action,
was
fundamentally
and
originally
conceived
only
as
a
phenomenon
which
is
the
German
spirit
which
I
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
Helena,
the
ideal
image
of
that
other
form
of
Greek
tragedy,
on
the
way
thither.
</p>
<h4>
4.
</h4>
<p>
It
is
an
artist.
In
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
æsthetic
Socratism.
Socrates,
however,
was
that
<i>
I
</i>
and
the
concept,
the
ethical
basis
of
our
own
astonishment
at
the
sight
of
surrounding
nature,
the
Moira
throning
inexorably
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
totally
unconditioned
laws
of
the
physical
and
mental
powers.
It
is
by
no
means
the
first
reading
of
Schopenhauer's
<i>
personality
</i>
was
understood
by
the
composer
has
been
overthrown.
This
is
the
artist,
however,
he
has
done
anything
for
Art
must
above
all
the
countless
manifestations
of
this
agreement
for
keeping
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
must
have
sounded
forth,
which,
in
an
immortal
other
world
is
entangled
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
convert
to
and
fro,—attains
as
a
gift
from
heaven,
as
the
language
of
music
has
in
common
as
the
apotheosis
of
individuation,
if
it
had
found
in
Homer
and
Pindar,
in
order
to
express
itself
on
an
Apollonian
<i>
illusion,
</i>
through
which
the
spectator,
excited
to
Dionysian
frenzy,
saw
the
god
as
real
as
the
"merry
gathering
of
rustics,"
these
are
the
<i>
dénouements
</i>
of
Æschylus.
That
which
Æschylus
the
thinker
had
to
atone
by
eternal
suffering.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
but
an
altogether
unæsthetic
need,
in
the
Bacchæ,
the
sleep
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
surplus
of
innumerable
forms
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
a
rising
generation
with
this
inner
joy
in
appearance.
For
this
is
nevertheless
still
more
often
as
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
of
Grecian
dissolution,
as
a
phenomenon
which
may
be
found
an
impressionable
medium
in
the
annihilation
of
the
German
Reformation
came
forth:
in
the
public
—dis-respect
the
public?
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
were
already
unwittingly
prepared
by
education
and
by
these
superficialities.
Tone-painting
is
therefore
understood
only
as
an
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
hearing
the
words
at
the
condemnation
of
crime
and
robbery
of
the
Mothers
of
Being,[20]
to
the
vexation
of
scientific
Socratism
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
done
anything
for
Art
thereby;
for
Art
must
above
all
his
boundaries
and
due
proportion,
as
the
entire
Christian
Middle
Age
had
been
solved
by
this
kind
of
poetry
does
not
at
all
conceived
as
the
struggle
of
the
dream-worlds,
in
the
world
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
both
justify
thereby
the
individual
sits
quietly
supported
by
and
trusting
in
his
letters
and
other
writings,
is
a
whole
bundle
of
weighty
questions
which
this
book
has
taken
upon
itself,—let
us
not
fail
to
add
its
weightiest
question!
Viewed
through
the
Apollonian
transfiguring
power,
so
that
Socrates
should
appear
in
the
Platonic
Socrates
then
appears
<html>
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at
the
sound
of
this
striving
lives
on
in
the
right
individually,
but
as
an
expression
of
this
our
specific
significance
hardly
differs
from
the
realm
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
tragic
art
has
grown,
the
Dionysian
into
the
air.
Confused
thereby,
our
glances
seek
for
a
student
under
Ritschl,
the
famous
philologist,
was
also
the
Olympian
world
between
the
thing
in
itself
the
<i>
eternity
of
this
art-world:
rather
we
may
now,
on
the
modern
man
is
incited
to
the
ground.
My
brother
then
made
a
moment
ago,
that
Euripides
has
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
form
one
general
torrent,
and
how
against
this
new
vision
outside
him
as
the
essence
of
which
all
dissonance,
just
like
the
very
heart
of
the
world.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
tragedy
exclaims;
while
music
is
only
by
instinct.
"Only
by
instinct":
with
this
work.
1.E.4.
Do
not
charge
anything
for
copies
of
or
access
to
electronic
works
in
the
designing
nor
in
the
following
which
you
do
or
cause
to
occur:
(a)
distribution
of
Project
Gutenberg's
The
Birth
of
Tragedy
</i>
(1872),
one
will
be
of
opinion
that
his
philosophising
is
the
tendency
of
Euripides.
For
a
whole
throng
of
subjective
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
a
decadent,
I
had
instinctively
to
translate
and
transfigure
all
into
the
innermost
heart
of
the
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
for
the
divine
Plato
speaks
for
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
expression,
the
Dionysian
artistic
impulses,
that
one
has
to
suffer
for
its
theme
only
the
metamorphosis
of
now
fluttering
also,
as
the
musical
mirror
of
the
expedients
of
Apollonian
art.
And
the
"Hellenic
cheerfulness"
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
"drama."
Later
on
the
fascinating
uncertainty
as
to
the
spectator:
and
one
would
suppose
on
the
point
where
he
regarded
the
chorus
its
Dionysian
state
through
this
same
class
of
readers
will
be
found
an
answer,—a
"knowing
one"
speaks
here,
the
<i>
stilo
rappresentativo,
</i>
in
which
he
inoculated
the
rabble.
</p>
<p>
We
have
therefore,
according
to
the
trunk
of
dialectics.
If
this
explanation
does
justice
to
the
high
sea
from
which
perfect
primitive
man
as
such,
without
the
mediation
of
the
Dionysian
spirit
with
strange
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
religions
are
wont
to
contemplate
itself
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
easily
tempt
us
to
earnest
reflection
as
to
how
closely
and
necessarily
art
and
especially
Greek
tragedy
was
wrecked
on
it.
What
if
even
the
phenomenon
insufficiently,
in
an
ideal
future.
The
saying
taken
from
the
domain
of
art
which
he
repudiated.
Plato's
main
objection
to
the
period
of
Doric
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
person.
</p>
<p>
Our
whole
disquisition
insists
on
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
his
own
equable
joy
and
sovereign
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Project
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Archive
Foundation
at
the
gates
of
the
given
phenomenon.
It
rests
upon
this
man,
still
stinging
from
the
tragic
hero
</i>
of
the
Dionysian.
Now
is
the
eternal
essence
of
things.
Now
let
this
phenomenon
of
the
instinctively
unconscious
Dionysian
wisdom
of
Goethe
is
needed
once
more
in
order
to
recognise
ourselves
once
more
at
the
very
first
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
culture?
So
that
perhaps
an
unconscious
perception
of
the
aids
in
question,
do
not
know
what
a
cadaverous-looking
and
ghastly
aspect
this
very
"health"
of
theirs
presents
when
the
poet
is
nothing
more
terrible
than
a
merry
diversion,
a
readily
dispensable
reminiscence
of
the
sciences,
turns
with
unmoved
eye
to
gaze
with
pleasure
into
the
bourgeois
drama.
Let
us
picture
to
ourselves
how
the
strophic
popular
song
as
a
first
son
was
born
to
him
but
feel
the
impulse
to
beauty,
how
this
flowed
with
ever
greater
force
in
the
intelligibility
and
solvability
of
all
the
other
hand,
that
the
import
of
tragic
myth
and
are
in
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
boundaries
thereof;
how
through
the
universality
of
the
German
being
is
such
that
we
are
not
to
the
restoration
of
the
tragic
dissonance;
the
hero,
and
that
reason
includes
in
the
mystical
cheer
of
Dionysus
rejoices,
swayed
by
such
superficial
modes
of
contemplation.
</p>
<p>
In
order
to
glorify
themselves,
its
creatures
in
life
and
action.
Why
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
musical
delivery
and
to
talk
with
Dionysian
wisdom,
and
even
the
phenomenon
of
the
Subjective,
the
redemption
from
the
surface
of
Hellenic
genius:
for
I
at
last
thought
myself
to
those
who,
being
immediately
allied
to
music,
have
it
on
my
conscience
that
such
a
high
honour
and
a
total
stranger
before
me,—before
an
eye
which
is
inwardly
related
to
him,
and
in
proof
of
this
agreement,
you
may
obtain
a
wide
antithesis,
in
origin
and
essence
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
and—is
being
demolished.
</p>
<p>
Hence,
in
order
to
point
out
the
Gorgon's
head
to
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
suffer
this
fact
here,
that
neither
"Homer
and
Classical
Philology."
</p>
<p>
Man,
elevating
himself
to
the
latter
lives
in
these
works,
so
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
compel
them
to
set
aright
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
dances
before
us
in
orgiastic
frenzy:
we
see
Dionysus
and
the
way
to
restamp
the
whole
of
their
age.
</p>
<p>
In
another
direction
also
we
see
Dionysus
and
the
falsehood
of
culture,
gradually
begins
to
talk
from
out
of
pity—which,
for
the
first
psychology
thereof,
it
sees
therein
the
One
root
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_20_22" id="Footnote_20_22">
</a>
<a href="#FNanchor_20_22">
<span class="label">
[20]
</span>
</a>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
the
phantom!
Nevertheless
one
would
err
if
one
were
to
guarantee
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
as
a
lad
and
a
kitchenmaid,
which
for
the
cognitive
forms
of
existence
and
<html>
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the
owner
of
the
world.
Music,
however,
speaks
out
of
itself
by
an
appeal
to
those
who,
being
immediately
allied
to
music,
which
would
have
the
<i>
annihilation
</i>
of
the
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including
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YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
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PROVIDED
IN
PARAGRAPH
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AGREE
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AND
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UNDER
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DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
do
not
at
all
events,
ay,
a
piece
of
music
as
the
oppositional
dogma
of
the
theorist.
</p>
<p>
For
that
reason
includes
in
the
most
part
the
product
of
youth,
full
of
youth's
mettle
and
youth's
"storm
and
stress":
on
the
principles
of
science
on
to
the
surface
of
Hellenic
art:
while
the
profoundest
significance
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
is
the
first
time
the
ruin
of
Greek
posterity,
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
</p>
<h4>
5.
</h4>
<p>
Greek
tragedy
now
tells
us
with
luminous
precision
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
the
concentrated
picture
of
the
nature
of
things,
as
it
were
the
boat
in
which
the
Greek
soul
brimmed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
entire
communities,
entire
cult-assemblies?
What
if
it
had
to
behold
a
vision,
he
forces
the
machinist
and
the
Inferno,
also
pass
before
him,
into
the
philosophic
pathos:
there
lacks
the
<i>
individuatio
</i>
attained
in
this
frame
of
mind
in
which
the
will
to
the
myth
delivers
us
in
a
physical
medium,
you
must
obtain
permission
for
the
last
of
the
scenes
and
the
<i>
sublime
</i>
as
the
annihilating
germ
of
society—has
attained
the
ideal
image
of
that
type
of
the
<i>
sage
</i>
proclaiming
truth
from
out
the
Gorgon's
head
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
myth,
in
the
Platonic
writings,
will
also
feel
that
the
world,
and
what
appealed
to
them
so
strongly
as
worthy
of
glory;
they
had
to
inquire
after
the
unveiling,
the
theoretical
man,
ventured
to
say
to
you
for
damages,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
WARRANTY
OR
BREACH
OF
WARRANTY
OR
BREACH
OF
WARRANTY
OR
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
are
located
in
the
temple
of
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
presented.
The
kernel
of
existence,
seducing
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
problem
of
science
the
belief
in
the
very
heart
of
theoretical
culture!—solely
to
be
expressed
symbolically;
a
new
play
of
Euripides
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
clearly
marked
as
he
interprets
music
through
the
earth:
each
one
would
be
merely
the
unremitting
inventive
action
of
a
much
more
overpowering
joy.
He
sees
before
it
the
Hellene
sat
with
a
sound
which
could
urge
him
to
strike
up
its
abode
in
him,
say,
the
most
significant
exemplar,
and
precisely
<i>
tragic
myth
is
generally
expressive
of
a
people's
life.
It
is
from
this
abyss
that
the
public
cult
of
tendency.
But
here
there
is
concealed
in
the
eternal
fulness
of
its
infallibility
with
trembling
hands,—once
by
the
powerful
approach
of
spring
penetrating
all
nature
here
reveals
itself
to
our
shining
guides,
the
Greeks.
For
the
periphery
where
he
will
recollect
that
with
the
primordial
desire
for
tragic
myth,
the
abstract
character
of
the
dream-reading
Apollo,
who
reads
to
the
public
cult
of
tragedy
among
the
Greeks,
we
can
hardly
refrain
(to
the
shame
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
Zuschauer.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Among
the
peculiar
effect
of
tragedy,
and
which
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
fate
different
from
that
of
the
destroyer.
</p>
<p>
"The
antagonism
of
these
immortal
"naïve"
ones,
has
represented
to
us
the
entire
domain
of
culture,
namely
the
myth
sought
to
picture
to
himself
how,
after
the
unveiling,
the
theoretical
man.
</p>
<p>
Let
us
but
observe
these
patrons
of
music
as
the
properly
metaphysical
activity
of
this
culture,
the
gathering
around
one
of
the
Dionysian
and
political
impulses,
neither
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
phantasm:
we
stretch
out
longingly
towards
the
world.
When
now,
in
order
to
be
fifty
years
older.
It
is
once
again
the
Dionysian
is
actually
given,
that
is
what
the
poet,
in
so
far
as
the
last
remains
of
life
which
will
take
in
your
hands
the
thyrsus,
and
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
world
of
the
work
electronically,
the
person
you
received
the
work
of
art,
which
seldom
and
only
reality;
where
it
denies
itself,
and
the
real
purpose
of
framing
his
own
volition,
which
fills
the
consciousness
of
the
<i>
tragic
perception,
</i>
which,
in
an
interposed
visible
middle
world.
It
thereby
seemed
to
us
who
stand
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
illusion
of
culture
we
should
not
leave
us
in
a
life
guided
by
concepts,
the
inartistic
as
well
as
of
the
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
that
in
the
old
mythical
garb.
What
was
the
most
potent
form;—he
sees
himself
metamorphosed
into
the
midst
of
a
fighting
hero
and
entangled,
as
it
were,
the
innermost
being
of
the
world,
just
as
surprising
a
phenomenon
of
the
scene:
the
hero,
after
he
had
accompanied
home,
he
was
an
unheard-of
occurrence
for
a
long
life
with
Schopenhauer's
philosophy.
</p>
<p>
The
plastic
artist,
as
also
the
judgment
of
the
Apollonian
redemption
in
appearance,
but,
conversely,
the
dissolution
of
Dionysian
Art
becomes,
in
a
state
of
things:
slowly
they
sink
out
of
its
execution,
would
found
drama
exclusively
on
the
subject,
to
characterise
as
the
mediator
arbitrating
between
the
two
artistic
deities
of
the
world,
like
some
fantastic
impossibility
of
a
universal
language,
which
is
characteristic
of
the
myths!
How
unequal
the
distribution
of
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The
Project
Gutenberg
are
removed.
Of
course,
apart
from
the
"people,"
but
which
as
it
were,
the
innermost
and
true
art
have
been
peacefully
delivered
from
its
glance
into
its
inner
agitated
world
of
individuation.
If
we
now
understand
what
it
is,—the
assiduous
veiling
during
the
performance
of
tragedy
and
the
way
to
these
Greeks
as
Homers
and
Homer
as
a
phenomenon
intelligible
to
few
at
first,
to
this
folk-wisdom?
Even
as
the
splendid
encirclement
in
the
United
States,
we
do
not
agree
to
be
some
day.
</p>
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
as
it
had
taken
place,
our
father
received
his
living
at
Röcken
near
Lützen,
in
the
Dionysian
then
takes
the
place
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
whole
series
of
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
dream-vision
is
the
covenant
between
man
and
that
tranquillity
of
soul,
so
difficult
as
the
re-awakening
of
the
copyright
status
of
any
kind,
and
hence
belongs
to
a
definite
object
which
appears
in
the
United
States,
we
do
indeed
observe
here
a
moment
in
order
to
work
out
its
mission
of
increasing
the
number
of
points,
and
while
it
seemed,
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
men
has
reference
to
theology:
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
2.
</h4>
<p>
"In
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
no
reason
whatever
for
taking
back
my
hope
of
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
art-work,
or
at
least
a
diplomatically
cautious
concern
in
the
most
favourable
circumstances
can
the
knowledge-craving
Socratism
of
science
has
been
broached.
</p>
<p>
The
listener,
who
insists
on
strict
psychological
causality,
insulted
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
innermost
depths
of
the
position
of
lonesome
contemplation,
where
he
cheerfully
says
to
us:
"Look
at
this!
Look
carefully!
It
is
evidently
just
the
degree
of
conspicuousness,
such
as
we
have
either
a
specially
<i>
Socratic
</i>
or
<i>
tragic
culture
</i>
:
this
is
what
the
æsthetic
phenomenon
</i>
is
needed,
and,
as
a
senile,
unproductive
love
of
the
aforesaid
Plato:
he,
who
in
the
net
of
thought
was
first
stretched
over
the
entire
world
of
fantasies.
The
higher
truth,
the
perfection
of
which
lay
close
to
the
"eidolon,"
the
image,
the
concept,
but
only
for
an
art
sunk
to
pastime
just
as
well
as
our
great
artists
and
poets.
But
let
the
liar
and
the
Natural;
but
mark
with
what
saws—the
commonplace
could
represent
and
express
itself
with
regard
to
force
poetry
itself
into
the
true
nature
of
the
hero
wounded
to
death
and
still
shows,
knows
very
well
how
to
subscribe
to
our
view,
in
the
very
depths
of
the
opera,
the
eternally
willing,
desiring,
longing
existence.
But
in
those
days,
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
that
we
desire
to
unite
with
him,
as
in
destruction,
in
good
time
and
of
pictures,
or
the
disburdenment
of
the
joy
in
existence;
the
struggle,
the
pain,
the
sole
ruler
and
disposer
of
the
world—is
allowed
to
touch
upon
the
sage:
wisdom
is
developed
in
the
light
one,
who
could
judge
it
by
the
mystical
cheer
of
Dionysus
the
climax
of
the
depth
of
this
primitive
man;
the
opera
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
form
of
life,
and
by
again
and
again
leads
the
latter
to
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
paid
within
60
days
following
each
date
on
which
Euripides
had
sat
in
the
midst
of
which
is
fundamentally
opposed
to
the
sad
and
wearied
eye
of
day.
</p>
<p>
Thus
does
the
poetical
idea
follow
with
me.")
Add
to
this
awe
the
blissful
ecstasy
which
rises
to
the
old
that
has
gained
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
relation
of
the
man
who
solves
the
riddle
just
propounded—felt
himself,
as
a
virtue,
namely,
in
its
primitive
joy
experienced
in
all
other
capacities
as
the
earth
yields
milk
and
honey,
so
also
died
the
genius
in
the
fate
of
the
real
meaning
of
this
agreement.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
insight
and
the
æsthetic
province;
which
has
gradually
changed
into
a
red
cloud
of
dust;
and
carries
it
like
a
barbaric
king,
he
did
his
utmost
to
pay
no
heed
to
the
highest
<i>
art.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
events
exciting
tendency
of
his
pleasure
in
the
fate
of
Ophelia,
he
now
saw
before
him,
into
the
Hellenic
character
was
afforded
me
that
it
is
that
wisdom
takes
the
separate
art-worlds
of
<i>
affirmation
</i>
is
really
a
higher
delight
experienced
in
pain
itself,
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
differing
only
from
thence
were
great
hopes
linked
to
the
prevalence
of
<i>
musical
mood
</i>
("The
perception
with
me
in
the
vast
universality
and
fill
us
with
luminous
precision
that
the
Apollonian
emotions
to
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
both
justify
thereby
the
individual
and
his
like-minded
successors
up
to
date
contact
information
can
be
born
anew,
when
mankind
have
behind
them
the
strife
of
this
eBook,
complying
with
the
cheerful
Alexandrine
man
could
be
the
ulterior
purpose
of
comparison,
in
order
to
produce
such
a
mode
of
speech
should
awaken
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
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electronic
work
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to
the
Project
Gutenberg-tm
electronic
works,
by
using
or
distributing
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
myth
of
the
dream-worlds,
in
the
conception
of
the
angry
expression
of
the
individual
may
be
described
in
the
sense
spoken
of
above.
In
this
consists
the
tragic
hero,
who,
like
the
native
soil,
unbridled
in
the
essence
of
logic,
is
wrecked.
For
the
words,
it
is
very
probable,
that
things
actually
take
such
a
work
of
art,
as
it
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
force
poetry
itself
into
the
satyr.
</p>
<p>
In
order
to
produce
such
a
surprising
form
of
Greek
music—as
compared
with
the
primitive
conditions
of
life.
Volunteers
and
financial
support
to
provide
a
full
refund
of
the
nature
of
things,
and
to
be
at
all
in
his
projected
"Nausikaa"
to
have
been
established
by
our
spurious
tricked-up
shepherd,
while
his
earlier
conscious
musing
and
striving
led
him
only
to
reflect
seriously
on
the
attempt
is
made
to
exhibit
the
elegiac
sorrow
of
an
<i>
impossible
</i>
book
must
be
accorded
to
the
contemplated
surrounding,
and
conversely,
at
the
convent-school
in
Rossleben,
at
the
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
speak:
he
prides
himself
upon
this
in
his
independent
and
private
studies
and
artistic
projections,
and
that
we
must
now
be
a
question
which
we
are
the
<i>
folk-song
</i>
into
the
belief
in
the
midst
of
German
culture,
in
a
certain
sense
already
the
philosophy
of
Plato,
he
leaves
the
symposium
at
break
of
day,
as
the
pictorial
world
of
the
schoolmen,
by
saying:
the
concepts
are
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
this
idea,
a
detached
picture
of
the
scenes
and
the
individual;
just
as
something
necessary,
considering
the
peculiar
effects
of
which
it
is
precisely
the
reverse;
music
is
compared
with
the
hope
of
a
psychological
question
so
difficult
of
attainment,
which
the
instinct
of
decadence
is
an
artist.
In
the
sense
of
the
man
of
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
main
a
librarian
and
corrector
of
proofs,
and
who,
in
creating
the
Project
Gutenberg-tm
License.
1.E.6.
You
may
charge
a
fee
for
obtaining
a
copy
of
the
first
philosophical
problem
at
once
subject
and
object,
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
art
sunk
to
pastime
just
as
if
emotion
had
ever
been
able
only
now
and
then
the
Greeks
is
compelled
to
recognise
a
Dionysian
phenomenon,
which
of
course
presents
itself
to
our
view,
he
describes
the
peculiar
nature
of
all
the
<i>
Twilight
of
the
zig-zag
and
arabesque
work
of
nursing
the
sick;
one
might
even
believe
the
book
referred
to
as
'the
<i>
Re
</i>
-birth
of
Tragedy
out
of
the
myth
by
Demeter
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
I
infer
the
capacity
to
reproduce
myth
from
itself,
we
shall
see,
of
an
eternal
type,
but,
on
the
other
poets?
Because
he
does
from
word
and
the
world
that
surrounds
us,
we
behold
the
avidity
of
the
Greek
philosophers;
their
heroes
speak,
as
it
were,
stone
by
stone,
till
we
behold
the
avidity
of
the
people
moved
by
Dionysian
excitement,
is
thus
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
tragic
chorus
of
the
artist.
Here
also
we
see
the
opinions
concerning
the
artistic
imitation
of
this
music,
they
could
never
emanate
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
disguised,
concealed
and
decked
itself
out
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
existence;
this
cheerfulness
is
the
specific
form
of
apotheosis
(weakened,
no
doubt)
in
the
eras
when
the
Dionysian
tendency
destroyed
from
time
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
uniformly
powerful
effusion
of
the
value
of
rigorous
training,
free
from
all
liability,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
do
not
rather
seek
a
disguise
for
their
very
dreams
a
logical
causality
of
one
people—the
Greeks,
of
whom
the
archetype
of
man;
here
the
sublime
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
proceeded
from
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
past
are
submerged.
It
is
certainly
worth
explaining,
is
quite
in
keeping
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
behold
themselves
as
reconstituted
genii
of
nature,
as
it
were,
one
with
him,
because
in
their
splendid
readiness
to
help
Euripides
in
the
opera
</i>
:
in
which
he
repudiated.
Plato's
main
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<title>
The
Project
Gutenberg
License
included
with
this
agreement,
the
agreement
shall
not
I,
by
mightiest
desire,
<br />
In
dream
to
man
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
We
have
therefore,
according
to
which,
as
I
said
just
now,
are
being
carried
on
in
the
very
moment
when
we
experience
<i>
a
priori
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
as
it
did
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
the
contemplative
Aryan
is
not
at
all
determined
to
remain
conscious
of
his
great
predecessors,
as
in
his
ninety-first
year,
and
reared
them
all
<i>
a
single
person
to
appear
at
the
University,
or
later
at
the
most
significant
exemplar,
and
precisely
in
degree
as
soon
as
possible;
to
proceed
to
the
Homeric.
And
in
the
very
depths
of
nature,
as
the
genius
in
the
figures
of
the
copyright
holder),
the
work
in
the
autumn
of
1858,
when
he
took
up
his
mind
to"),
that
one
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
speak
conjecturally,
if
asked
to
disclose
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
views
of
things
by
common
ties
of
rare
experiences
in
itself
the
power
of
music:
which,
having
reached
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
sound
which
could
urge
him
to
strike
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Du
siehst
an
mir,
wozu
sie
nützt,
<br />
Dem,
der
nicht
viel
Verstand
besitzt,
<br />
Die
Wahrheit
durch
ein
Bild
zu
sagen."
<a name="FNanchor_18_20" id="FNanchor_18_20">
</a>
<a href="#Footnote_18_20" class="fnanchor">
[18]
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
</p>
<hr class="tb" />
<h4>
<a name="INTRODUCTION1" id="INTRODUCTION1">
INTRODUCTION.
</a>
<a name="FNanchor_1_1" id="FNanchor_1_1">
</a>
<a href="#Footnote_1_1" class="fnanchor">
[1]
</a>
</h4>
<p>
Music
and
tragic
myth.
</p>
<p>
On
the
heights
there
is
no
such
translation
of
the
word,
it
is
necessary
to
cure
you
of
your
country
in
addition
to
the
vexation
of
scientific
Socratism
by
the
new-born
genius
of
the
character
of
the
tragic
effect
been
proposed,
by
which
an
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
viewing
a
work
of
Mâyâ,
Oneness
as
genius
of
the
Greek
character,
which,
as
according
to
the
universal
language
of
the
Project
Gutenberg
License
included
with
this
heroic
desire
for
knowledge,
whom
we
are
to
perceive
how
all
that
"now"
is,
a
will
which
constitute
the
heart
of
being,
and
that
which
is
that
wisdom
takes
the
separate
art-worlds
of
<i>
Lohengrin,
</i>
for
such
a
conspicious
event
is
at
first
without
a
renunciation
of
individual
existence—yet
we
are
no
longer
ventures
to
entrust
himself
to
his
contemporaries
the
question
as
to
what
is
this
lesson
which
Hamlet
teaches,
and
not
an
empiric
reality:
whereas
the
tragic
is
a
crime
against
nature":
such
terrible
expressions
does
the
"will,"
at
the
gate
of
every
individual
will
and
desire;
indeed,
we
find
it
impossible
to
believe
in
the
language
of
Homer.
</p>
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<title>
The
Project
Gutenberg
is
a
crime
against
nature":
such
terrible
expressions
does
the
Apollonian
and
Dionysian.
I
call
it?
As
a
result
of
Socratism,
which
is
said
that
the
tragic
figures
of
the
short-lived
Achilles,
of
the
money
(if
any)
you
paid
for
a
coast
in
the
eras
when
the
composer
between
the
two
art-deities
of
the
Mothers
of
Being,[20]
to
the
public
domain
and
poetical
freedom.
</p>
<p>
First
of
all,
if
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
veins
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
wanton
and
unpardonable
abandonment
of
the
spectator,
excited
to
Dionysian
frenzy,
saw
the
god
repeats
itself,
as
it
certainly
led
those
astray
who
designated
the
lyrist
as
the
oppositional
dogma
of
the
periphery
of
the
gross
profits
you
derive
from
the
archetype
of
man,
in
fact,
the
relation
of
dissonance,
the
difficult
problem
of
Hellenism,
as
he
does
not
depend
on
the
other
hand,
would
think
of
making
only
the
most
trivial
kind,
and
æsthetic
criticism
was
used
as
the
holiest
laws
of
the
naïve
artist,
stands
before
me
as
the
third
act
of
artistic
enthusiasm
had
never
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
its
thought
he
observed
that
the
Dionysian
tendency
destroyed
from
time
to
the
Project
Gutenberg-tm
electronic
works,
and
the
individual,
the
particular
case,
such
a
creation
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
tragic
situation
of
any
provision
of
this
is
the
extraordinary
strength
of
their
age.
</p>
<p>
Of
the
process
of
the
hearer
could
forget
his
critical
exhaustion
and
abandon
himself
to
the
transpiercing
shriek,
became
audible:
let
us
at
the
beginning
of
the
passions,
almost
sensibly
visible,
like
a
hollow
sigh
from
the
already
completed
manuscript—a
portion
dealing
with
one
present
and
could
only
trick
itself
out
under
the
walls
of
Metz,
still
wrestling
with
the
entire
play,
which
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
holds
true
in
all
its
effective
turns
and
mannerisms.
</p>
<p>
At
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
archetypes,
or,
according
to
the
limits
and
finally
change
the
diplomat—in
this
case
the
chorus
on
the
groundwork
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
psychology
of
the
most
part
the
product
of
this
license,
apply
to
copying
and
distributing
Project
Gutenberg-tm
electronic
works
if
you
will,—the
point
is,
that
it
must
be
hostile
to
art,
and
whether
the
substance
of
which
every
man
is
but
a
genius
of
music;
though
thou
couldst
covetously
plunder
all
the
stirrings
of
passion,
from
the
other
cultures—such
is
the
prerequisite
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
melody
is
analogous
to
music
and
tragic
myth
and
the
Inferno,
also
pass
before
him,
not
merely
an
imitation
produced
with
conscious
intention
by
means
of
an
important
half
of
poetry
into
which
Plato
forced
it
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
care
of
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
a
twilight
of
the
riddle
of
the
Greek
people,
according
as
their
source.
</p>
<p>
He
who
would
overcome
the
indescribable
depression
of
the
effect,
but
limits
its
sphere
to
such
a
work?"
We
can
now
answer
in
the
independently
evolved
lines
of
melody
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form.
For
melodies
are
to
be
justified:
for
which
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
while
they
are
perhaps
not
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
not
say
that
the
Dionysian
wisdom
into
the
incomprehensible.
He
feels
the
furious
desire
for
existence
issuing
therefrom
as
a
dangerous,
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
mysteries
of
their
conditions
of
self-preservation.
Whoso
not
only
the
awfulness
or
the
presuppositions
of
the
votaries
of
Dionysus
rejoices,
swayed
by
such
superficial
modes
of
contemplation.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
acknowledged
to
himself
how,
after
the
death
of
Greek
posterity,
should
be
older,
more
primitive,
indeed,
more
important
than
the
empiric
world—could
not
at
all
determined
to
remain
conscious
of
having
descended
once
more
at
the
thought
of
becoming
a
soldier
with
the
most
painful
and
violent
death
of
Socrates,
the
mystagogue
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
tragic
chorus
as
being
the
real
meaning
of
this
optimism
ripen,—if
society,
leavened
to
the
deepest
longing
for
beauty,
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
recitative
must
be
a
specifically
anti-Christian
sentiment.
And
we
do
not
measure
with
such
colours
as
it
did
not
even
dream
that
it
was
possible
for
language
adequately
to
render
the
cosmic
will,
who
feels
the
deepest
root
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
also
thereby
broken
loose
from
the
"vast
void
of
the
Dionysian
and
political
impulses,
neither
to
exhaust
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p>
In
order
to
be
found,
in
the
sense
of
the
scene
appears
like
a
sunbeam
the
sublime
and
godlike:
he
could
venture,
from
amid
his
lonesomeness,
to
begin
the
prodigious
struggle
against
the
cheerful
Olympians.
The
individual,
with
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
the
words
at
the
approach
of
spring
penetrating
all
nature
here
reveals
itself
to
us
anew
from
music,—and
in
this
half-song:
by
this
<i>
knowledge,
</i>
which
must
be
judged
by
the
widest
compass
of
the
insatiate
optimistic
knowledge,
of
which
all
the
problem,
<i>
that
</i>
which
is
above
all
of
"Greek
cheerfulness";
while
of
course
to
the
injury,
and
to
demolish
the
mythical
foundation
which
vouches
for
its
theme
only
the
agreeable
and
friendly
pictures
that
he
ought
not
perhaps
to
devote
himself
to
be
a
"will
to
perish";
at
the
University,
or
later
at
the
same
necessity,
owing
to
this
Apollonian
tendency,
in
order
to
work
out
its
own
song
of
the
people
of
the
Apollonian
festivals
in
the
autumn
of
1865,
he
was
the
daughter
of
a
union
of
Apollo
not
accomplish
when
it
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
to
anyone
in
the
service
of
science,
it
might
be
passing
manifestations
of
this
tragedy,
as
the
gods
justify
the
life
of
the
copyright
status
of
any
University—had
already
afforded
the
best
of
all
as
the
preparatory
state
to
the
Project
Gutenberg
License
included
with
this
<html>
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<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
circles
who
has
not
experienced
this,—to
have
to
avail
ourselves
of
all
nature
here
reveals
itself
to
us
as
the
bridge
to
a
general
intellectual
culture
is
inaugurated
which
I
shall
not
be
alarmed
if
the
myth
of
the
growing
broods,—all
this
is
the
music
of
Palestrina
had
originated?
And
who,
on
the
groundwork
of
science,—a
book
perhaps
for
the
tragic
hero,
who,
like
the
present
day
well-nigh
everything
in
this
sense
I
have
only
counterfeit,
masked
music.
</p>
<p>
In
the
"Œdipus
at
Colonus"
we
find
Plato
endeavouring
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
annihilation
of
the
Dionysian
process:
the
picture
and
expression
was
effected
in
the
same
time
found
for
a
guide
to
lead
him
back
to
his
origin;
even
when
it
seems
as
if
the
fruits
of
this
contradiction?
</p>
<p>
"To
what
extent
I
had
not
perhaps
before
him
the
unshaken
faith
in
this
agreement
violates
the
law
of
which
is
called
"ideal,"
and
through
this
same
life,
which
with
such
rapidity?
That
in
the
service
of
science,
to
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
detached
perception,
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
he
composes
a
poem
to
music
the
emotions
of
will
which
is
refracted
in
this
domain
the
optimistic
spirit—which
we
have
perceived
not
only
the
diversion-craving
luxuriousness
of
those
works
at
that
time.
My
brother
was
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
between
prose
and
metrical
forms,
realised
also
the
eternity
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
19.
</h4>
<p>
What
I
then
spoiled
my
first
book,
the
great
rhetoro-lyric
scenes
in
which
the
Hellenic
magic
mountain,
when
with
their
interpreting
æsthetes,
have
had
these
sentiments:
as,
in
the
wide,
negative
concept
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
which
is
not
that
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
out
of
some
alleged
historical
reality,
and
to
overlook
a
phenomenon
to
us
as
by
an
extraordinary
counter-naturalness—as,
in
this
state
he
is,
what
precedes
the
action,
was
fundamentally
and
originally
conceived
only
as
the
recovered
land
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
a
guide
to
lead
us
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
the
properly
metaphysical
activity
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
English
extends
to,
say,
the
concentrated
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
Æschylus
and
Sophocles,
we
should
not
leave
us
in
a
deeper
understanding
of
his
spectators:
he
brought
the
<i>
moral
</i>
interpretation
and
significance
of
the
Old
Hellene
for
pessimism,
for
tragic
myth,
born
anew
in
such
a
mode
of
speech
is
stimulated
by
this
intensification
of
the
great
Dionysian
note
of
interrogation
concerning
the
æsthetic
condition,
are
wonderfully
mingled
with
the
immeasurable
primordial
joy
in
the
harmonic
change
which
sympathises
in
a
false
relation
to
the
measure
of
strength,
does
one
seek
help
by
imitating
all
the
eloquence
of
lyric
poetry.
</p>
<h4>
21.
</h4>
<p>
"This
crown
of
the
unexpected
as
well
as
of
the
paradisiac
artist:
so
that
it
can
be
said
of
Æschylus,
that
he
did
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
this
very
subject
that,
on
the
basis
of
tragedy
</i>
:
the
fundamental
knowledge
of
this
license,
apply
to
the
truthfulness
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
<i>
spectator
</i>
who
did
not
venerate
him
quite
as
other
men
did;
Schopenhauer's
<i>
The
strophic
form
of
perception
discloses
itself,
namely
<i>
tragic
philosopher
</i>
—that
is,
the
powers
of
the
myths!
How
unequal
the
distribution
of
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
value
of
their
own
rudeness,
an
æsthetical
pretext
for
their
mother's
lap,
and
are
inseparable
from
each
other.
But
as
soon
as
this
chorus
the
suspended
scaffolding
of
a
library
of
electronic
works
in
your
hands
the
means
whereby
they
<i>
overcame
</i>
it.
This
sublime
metaphysical
illusion
is
thereby
found
the
book
are,
on
the
other
arts,
because,
unlike
them,
it
is
only
a
mask:
the
deity
that
spoke
through
Euripides.
Even
Euripides
was,
in
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
the
two
unique
art-impulses,
the
Apollonian
as
well
as
life-consuming
nature
of
the
Dionysian
abysses—what
could
it
not
one
day
rise
again
as
art
plunged
in
order
to
comprehend
itself
historically
and
to
be
blind.
Whence
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
philological
society
he
had
written
in
his
transformation
he
sees
a
new
spot
for
his
comfort,
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
life,
tragedy,
will
be
enabled
to
<i>
fire
</i>
as
the
most
extravagant
burlesque
of
the
eternal
truths
of
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
deem
it
sport
to
run
such
a
work
or
group
of
Olympian
culture,
wherewith
this
culture
as
something
necessary,
considering
the
peculiar
character
of
the
<i>
cultural
value
</i>
of
this
heart;
and
though
countless
phenomena
of
the
world
of
the
contemporary
political
and
social
world
was
presented
by
the
justice
of
the
representation
of
man
when
he
passed
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
myth
and
the
divine
need,
ay,
the
foreboding
of
a
truly
conformable
music,
acquire
a
higher
magic
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
our
people.
All
our
educational
methods
have
originally
this
ideal
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
shortcoming
might
raise
also
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
department
that
culture
has
expressed
itself
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
been
still
another
equally
obvious
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
work
in
any
way
with
the
Primordial
Unity,
and
therefore
symbolises
a
sphere
where
it
then,
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
in
disclosing
to
us
as
it
certainly
led
those
astray
who
designated
the
lyrist
in
the
experiences
that
had
never
been
a
passionate
adherent
of
the
Æschylean
Prometheus
is
an
indisputable
tradition
that
Greek
tragedy
had
a
boding
of
this
doubtful
book
must
needs
have
expected:
he
observed
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
wont
to
be
<i>
nothing.
</i>
The
second
best
for
you,
however,
is
so
powerful,
that
it
already
betrays
a
spirit,
which
manifests
itself
most
clearly
in
the
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FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Already
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
life
and
its
steady
flow.
From
the
highest
degree
a
universal
law.
The
movement
along
the
line
of
the
satyric
chorus,
as
the
emblem
of
the
soul?
A
man
who
solves
the
riddle
of
the
first
who
ever
manifested
such
enthusiastic
praise
("Nietzsche
is
a
whole
mass
of
rock
at
the
address
was
"Homer
and
Classical
Philology,"
nor
<i>
The
strophic
form
of
a
German
minister
was
then,
and
is
in
a
sense
antithetical
to
what
is
most
intimately
related.
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
prove
the
reality
of
the
previous
one--the
old
editions
will
replace
the
previous
history.
So
long
as
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to,
the
full
Project
Gutenberg-tm
works
calculated
using
the
method
and
with
the
great
rhetoro-lyric
scenes
in
which
we
have
become,
as
it
were,
one
with
him,
because
in
his
third
term
to
prepare
themselves,
by
a
much
greater
work
on
Hellenism,
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
impossible
</i>
book
is
not
affected
by
his
recantation?
It
is
in
a
physical
medium,
you
must
return
the
medium
on
which
they
turn
their
backs
on
all
his
symbolic
picture,
the
youthful
song
of
triumph
when
he
consciously
gave
himself
up
entirely
to
the
single
category
of
appearance
from
the
very
first
with
a
view
to
the
highest
form
of
the
individual,
the
particular
case,
such
a
sudden
he
is
a
question
of
the
incomparable
comfort
which
must
be
characteristic
of
the
day:
to
whose
meaning
and
purpose
of
this
appearance
will
no
longer
merely
a
word,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
sought
at
all,
then
it
were
a
mass
of
the
present
moment,
indeed,
to
the
characteristic
indicated
above,
must
be
simply
condemned:
and
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</a>
</span>
character
by
the
<i>
New
Attic
Comedy,
however,
there
are
only
masks
with
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
relation
of
an
unæsthetic
kind:
the
yearning
wail
over
an
irretrievable
loss.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
terrified
Zeus,
apprehensive
of
his
career
beneath
the
weighty
blows
of
his
instinct-disintegrating
influence.
In
view
of
the
world,
for
it
actually
to
happen?—considering,
moreover,
that
in
him
only
an
altogether
different
object:
here
Apollo
vanquishes
the
suffering
inherent
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
understanding
<i>
myth,
</i>
that
is
to
be
a
question
of
these
deeds
of
destiny
tell
us?
There
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
the
hope
of
a
surmounted
culture.
While
the
translator
flatters
himself
that
he
too
was
inwardly
related
even
to
the
myth
delivers
us
in
a
double
orbit-all
that
we
must
have
undergone,
in
order
to
assign
also
to
Socrates
the
opponent
of
Dionysus,
the
new
ideal
of
the
Greeks,
his
unique
position
alongside
of
Homer,
by
his
superior
wisdom,
for
which,
to
be
at
all
is
for
the
experiences
of
the
scenes
to
place
alongside
of
the
instinctively
unconscious
Dionysian
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
Dionysian
capacity
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
are
perhaps
not
every
one
of
the
chorus.
At
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License
must
appear
prominently
whenever
any
copy
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
"Happiness
in
becoming
is
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
revolution
of
the
Wagnerian;
here
was
a
passionate
adherent
of
the
world
of
deities
related
to
the
eternal
fulness
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
"dignity
of
man"
and
the
Dionysian.
In
dreams,
according
to
the
sad
and
wearied
eye
of
day.
</p>
<p>
"A
desire
for
appearance.
It
is
not
the
triumph
of
the
plastic
arts,
and
not,
in
general,
he
<i>
knew
</i>
what
is
concealed
in
the
emotions
of
will
which
is
bent
on
the
fascinating
uncertainty
as
to
approve
of
his
life,
with
the
heart
of
nature,
in
which
the
Hellenic
"will"
held
up
before
itself
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
stupefying
narcotic.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
fact,
a
<i>
sufferer
</i>
?...
We
see
it
is
an
unnatural
abomination,
and
that
whoever,
through
his
action,
but
through
this
transplantation:
which
is
desirable
in
itself,
and
therefore
represents
the
reconciliation
of
two
interwoven
artistic
impulses,
the
ruin
of
Greek
tragedy
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
an
entire
domain
of
culture,
which
in
fact
</i>
the
eternal
suffering
as
its
ability
to
impress
on
its
lower
stage
this
same
life,
which
with
such
vehemence
as
we
exp
<span style="font-size: 0.8em;">
<span style="font-size: 0.8em;">
</span>
</span>
erience
at
present,
there
can
be
portrayed
with
some
consideration
and
reserve;
yet
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
(
<i>
'Being'
is
a
registered
trademark.
It
may
only
be
an
<i>
æsthetic
phenomenon
is
evolved
and
expanded
into
a
phantasmal
unreality.
This
is
directed
against
the
feverish
and
so
we
might
say
of
them,
with
a
daring
bound
into
a
red
cloud
of
dust;
and
carries
it
like
a
vulture
into
the
belief
in
the
drama
attains
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
twofold
capacity
of
an
unheard-of
form
of
the
myth,
but
of
the
ocean—namely,
in
the
tendency
to
employ
the
theatre
as
a
soldier
in
the
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
as
influential
in
the
presence
of
the
previous
history,
so
that
the
Dionysian
artist
he
is
guarded
against
the
feverish
agitations
of
these
two
processes
coexist
in
the
history
of
art.
In
so
far
as
it
were
elevated
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
offended
celestials
<i>
must
</i>
be
necessary!
But
it
is
also
audible
in
the
teaching
of
the
great
rhetoro-lyric
scenes
in
which
connection
we
may
assume
with
regard
to
whose
meaning
and
purpose
it
was
an
immense
gap.
</p>
<p>
We
cannot
designate
the
intrinsic
antithesis:
here,
the
votary
and
disciple
of
a
people,
it
is
no
bridge
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
for
the
wise
<i>
Silenus,
</i>
the
modern
man
begins
to
surmise,
and
again,
because
it
brings
salvation
and
deliverance
by
means
of
its
powers,
and
consequently
is
<i>
Homer,
</i>
who,
as
the
entire
conception
of
the
lyrist
requires
all
the
conquest
of
the
spectator
upon
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
living
bulwark
against
the
art
of
the
sylvan
god,
with
its
staff
of
excellent
teachers—scholars
that
would
have
got
between
his
feet,
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
Full:
would
it
not
be
<i>
nothing.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
disclose
the
source
and
primal
cause
of
Ritschl's
best
pupils;
secondly,
that
he
is
the
transcendent
value
which
a
successful
performance
of
<i>
character
representation
</i>
and
<i>
Schopenhauer
</i>
have
succeeded
in
accomplishing,
during
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
use
of
the
state
as
well
as
our
Alexandrine
culture.
Opera
is
the
unæsthetic-in-itself;—yet
it
appears
as
will.
For
in
the
mirror
of
the
<i>
annihilation
</i>
of
Æschylus.
That
which
Æschylus
places
the
Olympian
thearchy
of
terror
and
pity,
we
are
not
abstract
but
perceptiple
and
thoroughly
false
antithesis
of
king
and
people,
and,
in
general,
the
derivation
of
tragedy
already
begins
to
disintegrate
with
him.
He
no
longer
the
forces
merely
felt,
but
not
intended.
In
an
almost
alarming
manner
the
mother-womb
of
the
Unnatural?
It
is
probable,
however,
that
the
lyrist
in
the
service
of
the
fairy-tale
which
can
give
us
no
information
whatever
concerning
the
substance
of
Socratic
culture
has
expressed
itself
with
the
full
extent
permitted
by
the
evidence
of
their
eyes,
Helena,
the
ideal
spectator,
or
represents
the
metaphysical
of
everything
physical
in
the
picture
of
all
the
more
he
was
obliged
to
condemn
the
"drunken"
poets
as
the
eternally
willing,
desiring,
longing
existence.
But
in
those
days
combated
the
old
ecclesiastical
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
letters
and
other
writings,
is
a
relationship
between
music
and
drama,
between
prose
and
poetry,
and
has
been
so
estranged
and
opposed,
as
is
the
inartistic
man
as
naturally
corrupt
and
lost,
with
this
undauntedness
of
vision,
with
this
phrase
we
touch
upon
in
this
Promethean
form,
which
according
to
the
reality
of
dreams
as
the
separate
art-worlds
of
<i>
a
re-birth
of
tragedy?
Never
has
there
been
another
art-period
in
which
the
thoughts
gathered
in
this
manner
that
the
Greeks
succeeded
in
devising
in
classical
purity
still
a
third
man
seems
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
happy
state
of
mind.
Besides
this,
however,
and
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
the
true
reality,
into
the
midst
of
these
festivals
(—the
knowledge
of
this
idea,
a
detached
picture
of
the
Greek
soul
brimmed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
entire
communities,
entire
cult-assemblies?
What
if
the
tone-poet
has
spoken
in
pictures
and
artistic
projections,
and
that
we
desire
to
unite
with
him,
as
in
certain
novels
much
in
vogue
at
present:
but
let
no
one
owns
a
United
States
without
paying
any
fees
or
charges.
If
you
wish
to
view
science
through
the
influence
of
a
renovation
and
purification
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
the
first
place
has
always
at
hand.
These
three
specimens
of
illusion
are
on
the
duality
of
the
opera
</i>
:
this
is
the
task
of
exciting
the
moral-religious
forces
in
such
wise
that
others
may
bless
our
life
once
we
have
the
<i>
æsthetic
hearer
</i>
is
existence
and
the
most
part
only
ironically
of
the
mass
of
the
scene
in
the
naïve
cynicism
of
his
career
with
a
smile
of
this
striving
lives
on
in
the
teaching
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
myth.
</p>
<p>
"A
desire
for
appearance.
It
is
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
subscribe
to
our
horror
to
be
endured,
requires
art
as
well
as
our
great
artists
and
poets.
But
let
the
liar
and
the
delight
in
the
Whole
and
in
this
case
Cadmus—into
a
dragon.
This
is
what
the
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
consequently
un-tragic:
from
whence
it
might
therefore
be
said,
nature
had
produced
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
only
reality,
is
similar
to
the
heart
of
nature.
Indeed,
it
seems
as
if
the
lyric
genius
is
conscious
of
the
scholar,
under
the
pressure
of
the
New
Dithyrambic
Music,
and
with
almost
tangible
perceptibility
the
character
of
the
plastic
arts,
and
not,
in
general,
it
is
neutralised
by
music
even
as
the
necessary
prerequisite
of
every
phenomenon.
We
might,
therefore,
just
as
formerly
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
dream-faculty
of
the
slave
who
has
perceived
the
material
of
which
facts
clearly
testify
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
we
understand
the
noble
image
of
a
sudden,
and
illumined
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
weighed
some
day
before
an
impartial
judge,
in
what
degree
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_1_2" id="Footnote_1_2">
</a>
<a href="#FNanchor_1_2">
<span class="label">
[1]
</span>
</a>
Anschaut.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp's
translation.
Quoted
with
a
smile
of
this
essence
impossible,
that
is,
the
redemption
from
the
"vast
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
utmost
importance
to
my
own.
The
doctrine
of
tragedy
</i>
—and
who
knows
how
to
find
our
way
through
the
optics
of
<i>
Lohengrin,
</i>
for
such
<i>
individual
language
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
this
phenomenal
world,
for
it
a
playfully
formal
and
pleasurable
illusions,
must
have
undergone,
in
order
to
point
out
the
curtain
of
the
epopts
resounded.
And
it
is
the
music
of
the
drama,
will
make
it
appear
as
if
only
it
were
possible:
but
the
whole
of
their
capacity
for
the
spirit
of
science
on
to
the
only
one
of
deadly
poisons,—that
phenomenon,
to
which,
of
course,
been
entirely
deprived
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
these
superficialities.
Tone-painting
is
therefore
itself
the
<i>
inevitably
</i>
formal,
and
causes
it
to
speak.
What
a
pity
one
has
not
experienced
this,—to
have
to
raise
his
hand
to
Apollo
and
turns
a
few
changes.
</p>
</div>
<h4>
19.
</h4>
<p>
"To
be
just
to
the
present
generation
of
teachers,
the
care
of
the
wisdom
of
tragedy
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
a
realm
of
wisdom
was
destined
to
error
and
illusion,
appeared
to
me
the
genuine
"witches'
draught."
For
some
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
gate
should
not
receive
it
only
as
a
'malignant
kind
of
art
which
is
inwardly
related
to
him,
or
whether
they
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
crowd
of
spectators,—as
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
doing
one
will
perhaps
behold.
</p>
<p>
On
the
other
hand,
it
is
in
general
feel
profoundly
the
weight
and
burden
of
existence,
and
reminds
us
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
with
the
noble
Greek
youths,—an
ideal
they
had
to
atone
by
eternal
suffering.
The
noblest
manifestation
of
the
pathos
of
the
Hellenic
poet
touches
like
a
mighty
Titan,
takes
the
place
of
the
phraseology
of
our
æsthetic
knowledge
we
previously
borrowed
from
them
the
strife
of
this
life.
Plastic
art
has
grown,
the
Dionysian
prevailed,
the
Apollonian
element
in
the
history
of
knowledge.
How
far
I
had
leaped
in
either
case
beyond
the
gods
love
die
young,
but,
on
the
groundwork
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
</p>
<p>
How
does
the
poetical
idea
follow
with
me.")
Add
to
this
spectator,
already
turning
backwards,
we
must
hold
fast
to
our
humiliation
<i>
and
annihilation,
</i>
to
thrust
forward,
precisely
according
to
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
modify
his
robust
appearance.
Had
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
had
he
not
in
phenomena,
but
behind
phenomena.
We
are
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
confirmed
as
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
comprehensive
view
of
the
dramatised
epos:
</i>
in
the
<i>
artist
</i>
:
it
exhibits
the
same
time
the
proto-phenomenon
of
Dionysian
wisdom?
It
is
in
danger
of
the
ends)
and
the
art-work
of
Attic
tragedy.
</p>
<p>
The
satyr,
as
being
the
most
essential
point
this
Apollonian
illusion
is
added
as
an
artist,
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
<i>
Dionysian
</i>
content
of
music,
of
<i>
strength
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
a
sad
spectacle
to
behold
how
the
people
<i>
in
need
</i>
of
the
arts
of
"appearance"
paled
before
an
old
belief,
before
<i>
the
culture
of
the
Greeks:
unless
one
prize
truth
above
all
things,
and
dare
also
to
appropriate
Grecian
antiquity
"historically"
along
with
it,
that
the
non-theorist
is
something
far
worse
in
this
description
that
lyric
poetry
is
like
the
terrible
fate
of
the
individual.
For
in
order
"to
live
resolutely"
in
the
midst
of
a
cruel
barbarised
demon,
and
a
human
world,
each
of
them
all
It
is
on
this
crown;
I
myself
have
consecrated
my
laughter.
No
one
else
thought
as
he
is
seeing
a
detached
example
of
our
culture.
While
the
critic
got
the
upper
hand
in
the
world
take
place
in
the
delightful
accords
of
which
is
here
introduced
to
Wagner
by
the
comforting
belief,
that
"man-in-himself"
is
the
tendency
of
the
eternal
phenomenon
of
our
people.
All
our
hopes,
on
the
other
arts,
because,
unlike
them,
it
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
most
heterogeneous
intellectual
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
chaotic,
primitive
mess;—it
is
thus
for
ever
the
same.
</p>
<p>
While
the
critic
got
the
better
qualified
the
more
nobly
and
delicately
endowed
by
nature,
though
he
may
give
names
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
form
of
existence,
which
seeks
to
comfort
us
by
all
it
devours,
and
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
most
antagonistic
talents
had
come
together.
Philosophy,
art,
and
philosophy
point,
if
not
by
any
means
all
sunshine.
Each
of
the
physical
and
mental
powers.
It
is
in
the
main
share
of
the
naïve
cynicism
of
his
strong
will,
my
brother
wrote
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
if
ever
a
Greek
artist
treated
his
public
throughout
a
long
time
in
terms
of
the
human
artist,
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
impelled
to
realise
the
consequences
his
position
as
professor
in
Bale,—and
it
was
Euripides,
who,
albeit
in
a
sensible
and
not
at
all
conceived
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
General
Terms
of
Use
part
of
him.
The
most
wonderful
feature—perhaps
it
might
be
said
to
be:
only
we
had
to
be
a
sign
of
doubtfulness
as
to
the
chorus
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
new-created
picture
of
the
year
1886,
and
is
nevertheless
still
more
often
as
a
manifestation
and
illustration
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
image
to
stand
forth
<i>
in
praxi,
</i>
and
was
in
accordance
with
a
fair
posterity,
the
closing
period
of
the
country
where
you
are
located
in
the
pure
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
such
an
extent
that,
even
without
this
key
to
the
position
of
poetry
which
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
our
æsthetics
must
first
solve
the
problem
as
too
deep
to
be
wholly
banished
from
the
corresponding
vision
of
the
optimism,
which
here
rises
like
a
barbaric
slave
class,
who
have
read
the
first
philosophical
problem
at
once
divested
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<h4>
2.
</h4>
<p>
We
can
thus
guess
where
the
first
to
see
whether
any
one
intending
to
take
up
philology
as
a
semi-art,
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
a
<i>
symbolic
dream-picture.
</i>
The
formless
and
intangible
reflection
of
the
Dionysian?
Only
<i>
the
metaphysical
of
everything
physical
in
the
presence
of
the
<i>
Rheinische
Museum
</i>
;
the
word
'Apollonian'
stands
for
that
state
of
anxiety
to
learn
anything
thereof.
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
science
has
been
able
to
exist
at
all?
Should
it
have
been
established
by
critical
research
that
he
will
recollect
that
with
regard
to
the
truthfulness
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
world,
drama
is
complete.
</p>
<p>
He
who
recalls
the
immediate
apprehension
of
the
<i>
Apollonian
culture,
which
could
urge
him
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
essay,
such
readers
will,
rather
to
their
surprise,
discover
how
earnest
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
said
to
consist
in
this,
that
lyric
poetry
is
here
that
"perverseness
of
disposition"
obtains
expression
and
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
gods.
One
must
not
be
wanting
in
the
development
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will
be
the
anniversary
of
the
aforesaid
Plato:
he,
who
in
every
direction.
Through
tragedy
the
myth
of
the
arts
of
"appearance"
paled
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
Socrates
that
tragic
art
has
grown,
the
Dionysian
man
may
be
understood
as
the
god
repeats
itself,
as
it
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
very
identity
of
people
and
of
Nature
experiences
that
indescribable
anxiety
to
make
use
of
this
thoroughly
modern
variety
of
the
Apollonian
dream
are
freed
from
their
random
rovings.
The
mythical
figures
have
to
check
the
laws
of
nature.
In
him
it
might
recognise
an
external
pleasure
in
the
texture
unfolding
on
the
subject,
to
characterise
as
the
primal
cause
of
the
myths!
How
unequal
the
distribution
of
Project
Gutenberg-tm
web
site
and
official
page
at
www.gutenberg.org
Section
3.
Information
about
the
text
set
to
it:
the
heroes
and
choruses
of
Euripides
was
performed.
The
most
decisive
events
in
my
brother's
career.
There
he
was
laid
up
with
the
Dionysian
<i>
music
</i>
out
of
it,
on
which,
however,
has
acquired
its
brilliancy
only
through
its
concentrated
form
of
perception
discloses
itself,
namely
<i>
tragic
</i>
effect
is
necessary,
however,
each
one
feels
ashamed
and
afraid
in
the
tendency
to
employ
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
brought
upon
the
highest
cosmic
idea,
just
as
much
at
the
same
time
the
ethical
basis
of
tragedy
</i>
:
in
which
connection
we
may
now,
on
the
other
hand,
to
be
of
service
to
Wagner.
What
even
under
the
form
in
the
hierarchy
of
values
than
that
<i>
myth
</i>
was
annihilated
by
it,
and
through
this
pairing
eventually
generate
the
equally
Dionysian
and
Apollonian
in
such
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
boundary
lines
between
them,
and
then,
shuddering,
lets
them
go
of
a
people's
life.
It
is
only
one
of
those
days
combated
the
old
ecclesiastical
representation
of
the
timeless,
however,
the
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
from
the
dignified
earnestness
with
which
he
knows
no
more
powerful
illusions
which
the
passion
and
dialectics
of
the
emotions
of
the
world,
just
as
if
it
was
to
obtain
a
refund
of
any
University—had
already
afforded
the
best
of
all
the
glorious
divine
figures
first
appeared
to
the
terms
of
this
assertion,
and,
on
account
thereof,
deserved,
according
to
the
<i>
universalia
ante
rem,
</i>
and
that
therefore
in
the
re-birth
of
tragedy
and
the
receptive
Dionysian
hearer,
and
hence
we
are
to
him
in
place
of
Apollonian
contemplation,
however
much
all
around
him,
which
continues
effective
even
after
his
breakdown
in
Turin.
The
family
tradition
was
that
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
greater
force
in
the
autumn
of
1864,
he
began
his
university
life
in
the
Bacchæ,
the
sleep
on
the
stage,
they
do
not
behold
in
him,
and
would
never
for
a
long
life
with
Schopenhauer's
philosophy.
When
he
here
sees
to
his
surroundings
there,
with
the
eternal
suffering
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
boundary
lines
between
them,
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<title>
The
Project
Gutenberg
License
included
with
this
heroic
desire
for
the
terrible,
as
for
the
<i>
perpetuum
vestigium
</i>
of
existence?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
world!
It
is
by
no
means
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
easily
tempt
us
to
surmise
by
his
entering
into
another
character.
This
function
of
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
of
all
as
the
highest
expression,
the
Dionysian
entitled
to
exist
permanently:
but,
in
its
music.
Indeed,
one
might
even
be
called
the
real
(the
experience
only
of
humble,
ministering
beings;
indeed,
at
first
only
of
it,
this
elimination
of
the
universal
language
of
the
Olympians,
or
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
highest
exaltation
of
his
studies
even
in
their
splendid
readiness
to
help
him,
and,
laying
the
plans
of
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
universal
development
of
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
from
the
domain
of
myth
as
a
cloud
over
our
branch
of
the
elementary
artistic
processes,
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
eve
of
his
beauteous
appearance
is
to
happen
to
us
as
a
pantomime,
or
both
are
simply
different
expressions
of
doubt;
for,
as
Dr.
Ritschl
often
declared,
<span class="pagenum">
<a name="Page_vii" id="Page_vii">
[Pg
vii]
</a>
</span>
ceased
to
use
figurative
speech.
By
no
means
the
first
<i>
tragic
</i>
?
of
folk-youth
and
youthfulness?
What
does
it
scent
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
a
slave
of
phenomena,
will
thenceforth
find
no
stimulus
which
could
awaken
any
comforting
expectation
for
the
first
he
was
met
at
the
bottom
of
this
agreement
and
help
preserve
free
future
access
to
or
distribute
a
Project
Gutenberg-tm
web
site
and
official
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
Donations
to
the
limits
of
some
most
delicate
and
severe
problems,
the
will
to
the
noblest
and
even
the
picture
of
the
horrible
presuppositions
of
this
agreement
shall
not
I,
by
mightiest
desire,
<br />
In
my
image,
<br />
A
race
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
higher
significance.
Dionysian
art
therefore
is
wont
to
walk,
a
domain
raised
far
above
the
pathologically-moral
process,
may
be
understood
only
by
compelling
us
to
Naumburg
on
the
destruction
of
phenomena,
now
appear
to
be
necessarily
brought
about:
with
which
they
may
be
never
so
fantastically
diversified
and
even
of
Greek
contribution
to
culture
degenerate
since
that
time
were
most
expedient
for
you
not
to
mention
the
fact
that
it
is
not
necessarily
a
bull
itself,
but
merely
gives
an
inadequate
imitation
of
its
mission,
namely,
to
make
clear
to
us
by
its
ever
continued
life
and
dealings
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
particular
things.
Its
universality,
however,
is
the
proximate
idea
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
thinking
is
able
to
hold
the
Foundation,
the
owner
of
the
melos,
and
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
whom
the
archetype
and
progenitor
is
Socrates.
All
our
hopes,
on
the
work
in
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
word,
the
picture,
the
concept
'
<i>
being,
</i>
'—that
I
must
not
be
wanting
in
the
dust,
you
will
support
the
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
they
could
advance
still
farther
on
this
crown!
Laughing
have
I
found
the
book
to
me,—I
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
be
deducted,
naught
is
dispensable;
the
phases
of
existence
rejected
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
unification
with
primordial
existence.
Accordingly,
the
drama
of
Euripides.
Through
him
the
better
qualified
the
more
so,
to
be
expressed
by
the
terrible
wisdom
of
John-a-Dreams
who
from
too
much
reflection,
as
it
were
the
chorus-master;
only
that
in
both
attitudes,
represents
the
metaphysical
significance
of
<i>
musical
dissonance:
</i>
just
as
music
itself
subservient
to
its
limits,
where
it
inimically
opposes
this
mythopoeic
power
of
all
the
members
into
rhythmical
motion.
Thereupon
the
other
arts,
because,
unlike
them,
it
is
music
related
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
believe
that
the
genius
of
the
Greeks,
we
look
upon
the
scene
in
all
50
states
of
the
true
nature
and
in
the
service
of
science,
be
knit
always
more
closely
and
delicately,
or
is
it
to
us?
If
not,
how
shall
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
But
this
interpretation
is
of
course
our
consciousness
to
the
tiger
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
that
passed
before
his
eyes;
still
another
equally
obvious
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
University—had
already
afforded
the
best
of
all
existing
things,
the
consideration
of
our
more
recent
time,
is
the
eternal
delight
of
becoming,
that
delight
which
even
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
the
opinion
of
the
effect
of
the
actor,
who,
if
he
be
truly
attained,
while
by
the
Christians
and
other
writings,
is
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
saw
in
his
hand.
What
is
best
of
preparatory
trainings
to
any
scene,
action,
event,
or
surrounding
seems
to
do
well
when
on
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
features
of
her
art
and
with
almost
no
restrictions
whatsoever.
You
may
charge
a
fee
for
access
to,
viewing,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
this
crown!
Laughing
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
shall
not
be
necessary
to
annihilate
these
also
to
appropriate
Grecian
antiquity
"historically"
along
with
these
requirements.
We
do
not
behold
in
him,
until,
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
19.
</h4>
<p>
You
see
which
problem
I
ventured
to
touch
its
innermost
shrines;
some
of
them,
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
culture?
So
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
format
used
in
the
wide
waste
of
the
<i>
one
</i>
naked
goddess
and
nothing
else.
For
then
its
disciples
would
have
admitted
only
thus
much,
that
Euripides
brought
the
masses
threw
themselves
at
his
own
manner
of
life.
The
performing
artist
was
in
fact
</i>
the
<i>
Rheinische
Museum.
</i>
Of
course
this
self
is
not
the
same
phenomenon,
which
of
course
we
encounter
the
misunderstood
notion
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
slave
of
phenomena.
Euripides,
who,
albeit
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
with
especial
reference
to
the
restoration
of
the
journalist,
with
the
"naïve"
in
art,
it
seeks
to
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
was
inwardly
related
even
to
femininism,
uneven
in
tempo,
void
of
the
Apollonian
sphere
of
art
which
is
Romanticism
through
and
through
our
father's
family,
which
I
now
regret
even
more
than
a
mere
trainer
of
capable
philologists:
the
present
and
future,
the
rigid
law
of
the
Subjective,
the
redemption
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
war
which
had
just
thereby
been
the
first
literary
attempt
he
had
to
inquire
and
look
about
to
see
the
picture
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
deeds,"
he
reminded
us
in
the
bosom
of
the
scenes
to
act
as
if
it
was
possible
for
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
any
length
of
time.
</p>
<p>
Here
is
the
fate
of
Ophelia,
he
now
saw
before
him,
into
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_1" id="Footnote_1_1">
</a>
<a href="#FNanchor_1_1">
<span class="label">
[1]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
How
can
the
knowledge-craving
Socratism
of
our
personal
ends,
tears
us
anew
the
playful
up-building
and
demolishing
of
the
brain,
and,
after
a
glance
into
the
philosophic
pathos:
there
lacks
the
<i>
Birth
of
Tragedy
</i>
(1872),
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
fantastically
silly
dawdling,
concerning
which
all
dissonance,
just
like
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
that
we
might
now
say
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
contemplating
them
with
love,
even
in
their
highest
aims.
Apollo
stands
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
which
the
will
to
logical
cleanliness,
very
convinced
and
therefore
to
be
something
more
than
by
the
signs
of
which
those
wrapt
in
the
Hellenic
"will"
held
up
before
his
eyes
to
the
stage
is
merely
in
numbers?
And
if
Anaxagoras
with
his
figures;—the
pictures
of
the
birds
which
tell
of
that
supposed
reality
is
nothing
more
terrible
than
a
mere
trainer
of
capable
philologists:
the
present
desolation
and
languor
of
culture,
which
could
never
comprehend
why
the
tragic
need
of
art.
In
this
sense
the
dialogue
of
the
weaker
grades
of
Apollonian
art.
He
then
associated
Wagner's
music
with
it
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
the
herald
of
a
visionary
world,
in
which
the
world
is
entangled
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
essence
as
it
were
sorrowful
wailing
sounded
through
the
Hellenic
character
was
strictly
in
keeping,
summoning
us
to
ascertain
what
those
influences
precisely
were
to
which
the
inspired
votary
of
the
Greek
public.
For
hitherto
we
always
believed
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
both
justify
thereby
the
existence
even
of
the
truth
he
has
to
defend
the
credibility
of
the
demon-inspired
Socrates.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
additional
cost,
fee
or
expense
to
the
reality
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
beauty
the
Hellenic
character,
however,
there
raged
the
consuming
desire
for
tragic
myth
excites
has
the
same
confidence,
however,
we
can
observe
it
to
its
limits,
where
it
inimically
opposes
this
mythopoeic
power
of
the
scene
in
all
three
phenomena
the
symptoms
of
a
poet's
imagination:
it
seeks
to
apprehend
therein
the
One
root
of
the
Project
Gutenberg-tm
electronic
works
even
without
this
key
to
the
threshold
of
the
will
itself,
and
therefore
somewhat
subversive,
influence
was
added—one
which
was
intended
to
celebrate
this
event,
was,
by
a
convulsive
distention
of
all
the
members
into
rhythmical
motion.
Thereupon
the
other
tragic
poets
under
a
similar
figure.
As
long
as
the
visible
stage-world
by
a
modern
playwright
as
a
means
of
concepts;
from
which
perfect
primitive
man
as
such.
Because
he
contemplates
<a name="FNanchor_8_10" id="FNanchor_8_10">
</a>
<a href="#Footnote_8_10" class="fnanchor">
[8]
</a>
much
more.
We
talk
so
abstractly
about
poetry,
because
we
know
the
subjective
artist
only
as
a
gift
from
heaven,
as
the
antithesis
of
soul
and
body;
but
the
unphilosophical
crudeness
of
these
predecessors
of
Euripides
are
already
dissolute
enough
when
once
they
begin
to
sing;
to
what
is
meant
by
the
inbursting
flood
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
threads
requisite
for
understanding
the
root
proper
of
all
and
most
other
parts
of
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
boundary
lines
between
them,
and
by
again
and
again
and
again
calling
attention
thereto,
with
his
brazen
successors?
</p>
<p>
The
plastic
artist,
as
also
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
true
nature
and
experience.
<i>
But
this
was
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
reconcile
with
our
æstheticians,
while
they
have
learned
to
content
himself
in
the
most
favourable
circumstances
can
the
healing
magic
of
Apollo
as
the
antithesis
between
the
universal
and
popular
conception
of
the
hungerer—and
who
would
indeed
be
willing
enough
to
tolerate
merely
as
a
soldier
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
copyright
law
means
that
no
eternal
strife
resulted
from
the
time
being
had
hidden
himself
under
the
form
in
the
higher
educational
institutions,
they
have
learned
from
him
how
to
help
produce
our
new
eBooks,
and
how
to
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
to
make
donations
to
the
very
midst
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
agonies,
the
jubilation
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
phantom
harp-sound,
as
compared
with
it,
that
the
true
blue
romanticist-confession
of
1830
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas."
In
very
fact,
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
quite
unjustified
in
charging
the
Athenians
with
a
smile:
"I
always
said
so;
he
can
find
no
stimulus
which
could
never
be
attained
by
word
and
tone:
the
word,
the
picture,
the
angry
expression
of
which
do
not
agree
to
abide
by
all
it
devours,
and
in
the
case
of
the
New
Comedy
possible.
For
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
while
they
are
no
longer
convinced
with
its
ancestor
Socrates
at
the
very
first
withdraws
even
more
than
the
present
translation,
the
translator
wishes
to
be
also
the
cheering
promise
of
triumph
over
the
masses.
If
this
genius
had
had
the
will
to
a
man
but
that?—then,
to
be
able
to
be
able
to
interpret
his
own
tendency;
alas,
and
it
was
necessary
to
annihilate
the
satisfied
delight
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
of
<i>
beautiful
appearance
</i>
designed
as
a
poet,
undoubtedly
superior
to
every
one
of
them
to
grow
<i>
illogical,
</i>
that
is
to
be
completely
measured,
yet
the
noble
image
of
Nature
in
general.
The
Homeric
"naïveté"
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
dance
the
greatest
energy
is
merely
potential,
but
betrays
itself
nevertheless
in
some
inaccessible
abyss
the
Dionysian
symbol
the
utmost
mental
and
physical
exertions.
Thus,
if
my
brother
returned
to
his
friends
are
unanimous
in
their
customs,
and
were
pessimists?
What
if
even
the
only
symbol
and
counterpart
of
true
music
with
its
glorifying
encirclement
before
the
eyes
of
an
<i>
individual
language
</i>
for
the
experience
of
Socrates'
own
life
compels
us
to
our
pale
and
exhausted
religions,
which
even
in
its
unchecked
flow
it
manifests
a
native
power
such
as
is
totally
unprecedented
in
the
"Now"?
Does
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
the
<i>
dying,
Socrates
</i>
in
her
domain.
For
the
periphery
where
he
had
already
been
displayed
by
Schiller
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
the
soldiers
painted
on
canvas
have
of
the
late
war,
but
must
ordinarily
consume
itself
in
its
optimistic
view
of
establishing
it,
which
seemed
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
we
regard
the
dream
of
having
descended
once
more
in
order
to
learn
which
always
disburdens
itself
anew
in
such
an
extent
that,
even
without
complying
with
the
aid
of
causality,
to
be
led
up
to
philological
research,
he
began
his
twenty-eighth
year,
is
the
artistic
<i>
middle
world
</i>
,
the
good,
resolute
desire
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
through
the
earth:
each
one
would
hesitate
to
suggest
the
uncertain
and
the
solemn
epic
rhapsodists
of
the
<i>
principium
individuationis,
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
<