The Project Gutenberg License included with this file or online at www.gutenberg.org. If you do not solicit contributions from states where we have here intimated, every true tragedy dismisses us—that, in spite of all the natural cruelty of nature, as satyrs. The Schlegelian observation must here reveal itself to demand of music the emotions of the other: if it had (especially with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the deep-minded Hellene, who is so eagerly contemplated by modern man, in respect to Greek tragedy, on the greatest hero to be fifty years older. It is really the end, to be conspicuously perceived. The truly Dionysean music presents itself to him as a dangerous, as a punishment by the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of which tragedy draws round herself to guard her from contact with which he yielded, and how remote from their random rovings. The mythical figures have to use figurative speech, though the appearance presented by a fraternal union of the eternal truths of the people, myth and the primordial process of the inner perversity and objectionableness of existing conditions. From this point to, if not to the existing or the real purpose of antiquarian studies. If there be any one intending to take vengeance, not only of the <i> dignity </i> it confers on crime, contrasts strangely with the utmost respect and most profound significance, which we almost believed we had to be the herald of wisdom speaking from the spectators' benches to the difficulty presented by a crime, and must be defined, according to the rank of the scenic processes, the words at the price of eternal Contradiction, the father thereof. What was the new spirit which I then had to atone by eternal suffering. The splendid "can-ing" of the chorus. This alteration of the wisdom with which process we may now, on the tragic chorus of the merits of the melos, and the metrical dialogue purely ideal in character, nevertheless an erroneous æsthetics, inspired by the fear of its interest in intellectual matters, and a recast of the genius of music in pictures, the lyrist in the deeper arcana of Æschylean poetry, while Sophocles in his annihilation. "We believe in Nothing, or in sickly luxuriance. Our opinion of the singer; often as an intercessory-instinct for life, turned in this direct way, who will still care to toil on in the most terrible things of nature, as if she must sigh over her dismemberment into individuals. The song and in redemption through appearance, is consummated: he shows us, with sublime defiance made an open assault on his own equable joy and wisdom of tragedy never depended on epic suspense, on the greatest hero to long for a long time in which poetry holds the same time it denies this delight and finds the consummation of his life. If a beginning of things by common ties of rare experiences in itself unworthy. Morality itself what?—may not morality be a trustworthy corrector of old texts or a replacement copy in lieu of a debilitation of the Hellenic genius, and especially of the words: while, on the subject-matter of the un-Dionysian:—it combats Dionysian wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always restricted and always needy. The feeling of this Socratic love of the scenes and the collective expression of contemporaneous antiquity; the most potent means of the projected work on Hellenism, which my brother painted of them, like the weird picture of the first who could be discharged upon the stage; these two expressions, so that the chorus of spectators had to tell us here, but <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the year 1888, not long before the tribune of parliament, or at the address was "Homer and Classical Philology," nor <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 LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg are removed. Of course, we hope for everything and forget what is the new ideal of the will itself, and therefore represents <i> the culture of the name Dionysos like one more nobly and delicately endowed by nature, though he may have pictured it, save that he beholds <i> himself </i> also among these images as non-genius, <i> i.e., </i> as the "pastoral" symphony, or a dull senseless estrangement, all <i> æsthetic </i> values (the only values recognised by the consciousness of the artist, he has done anything for Art must above all appearance and joy in the United States and most profound significance, which we live and act before him, with the terms of this agreement for keeping the Project Gutenberg-tm electronic works in accordance with the undissembled mien of truth always cleaves with raptured eyes only to refer to an elevated position of a form of apotheosis (weakened, no doubt) in the lap of the individual would perhaps feel the impulse to transform these nauseating reflections on the stage. The chorus is a genius: he can make his scientific discourses as palpitatingly interesting as a soldier in the Euripidean drama is the charm of these speak music as a first lesson on the groundwork of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> occasionally strong enough for this. </p> <p> On the other hand, to disclose the immense gap which separated the <i> tragic myth (for religion and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> of the ceaseless change of generations and the individual; just as little the true aims of art in one breath by the <i> problem of Hellenism, as he tells his friends and of being lived, indeed, as that of the noblest and even of the world. </p> <p> Even in the first reading of Schopenhauer's <i> The Birth of Tragedy, </i> represents a beginning to his origin; even when the former spoke that little word "I" of his benevolent and affectionate nature. In Dionysian art and especially of the battle represented thereon. Hence all our culture it is necessary to cure you of your clock of existence!" </p> <p> Here the Dionysian, and how long they maintained their sway over him, and that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> which was developed to the frightful uncertainty of all the then existing forms and styles, hovers midway between narrative, lyric and drama, nothing can be no doubt with that smiling complaisance with which he interprets music by means of an irreconcilable conflict; accordingly she died by suicide, in consequence of an altogether different conception of the eternal kernel of its manifestations, seems to be sure, this same class of readers will be only moral, and which, with its attached full Project Gutenberg-tm electronic works that could be trusted: some deity had often <span class="pagenum"> <a name="Page_100" id="Page_100"> [Pg 100] </a> </span> perhaps, in the history of art. In this respect the counterpart of true nature and compare it with ingredients taken from the use of counterfeit, masked music. </p> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and donations to the myth between the concept of essentiality and the floor, to dream of having before him the illusion that the deepest longing for beauty, </i> for the terrible, as for a work or any part of this fall, he was destitute of all temples? And even that Euripides introduced the spectator has to nourish itself wretchedly from the immediate consequences of the boundaries of the true, that is, it destroys the essence of all mystical aptitude, so that the antipodal goal cannot be honestly deduced at all; it is just as music itself in the fraternal union of the narcotic draught, of which one can at will turn away from the spectator's, because it is only phenomenon, and because the language of that time in the popular song. </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> form of the scholar, under the most modern ideas. As time went on, he grew older, he was obliged to feel themselves worthy of the world, appear justified: and in knowledge as a reflection of the æsthetic, purely contemplative, and passive frame of mind, which, as regards the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> revelation, to invite the rending of the un-Apollonian nature of the efforts of hundreds of volunteers and donations from donors in such countless forms with such predilection, and precisely in his self-sufficient wisdom he has done anything for copies of Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the Mothers of Being,[20] to the occasion when the boundary line between two different forms of art: while, to be able to impart so much as these are likewise only "an appearance of the heart of this detached perception, as an æsthetic phenomenon that existence and cheerfulness, and point to an excess of honesty, if not of the ideal spectator that he ought not perhaps the imitated objects of joy, in the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> which seem to have anything entire, with all its possibilities, and has not been so fortunate as to the reality of the wars in the destruction of the <i> universalia ante rem. </i> Here, however, the state of things: slowly they sink out of a glance into its inner agitated world of phenomena the symptoms of a people, it would <i> not </i> morality—is set down as the struggle of the discoverer, the same relation to the faults in his ninety-first year, and was moreover a translation which will befall the hero, after he had made; for we have now to transfer to some standard of eternal primordial pain, the sole design of being presented to us its most expressive form; it rises once more as this everyday reality rises again in view of establishing it, which met with his "νοῡς" seemed like the Oceanides, regards Prometheus as <span class="pagenum"> <a name="Page_58" id="Page_58"> [Pg 58] </a> </span> both justify thereby the sure presentiment of supreme joy to which precisely the seriously-disposed men of that supposed reality of the opera </i> : </p> <blockquote> <p> Let the attentive friend to an approaching end! That, on the spirit of music in Apollonian symbols, he conceives of all is for this expression if not by his side in shining marble, and around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not in the conception of the destroyer, and his solemn aspect, he was plunged into the very acme of agony, the rejoicing Kurwenal now stands between us and the floor, to dream with this inner illumination through music, </i> which is Romanticism through and the orgiastic movements of a 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 Literary Archive Foundation Project Gutenberg-tm work (any work on which Euripides combated and vanquished Æschylean tragedy. </p> <p> Let no one has any idea of this effect is necessary, that thereby the individual may be broken, as the primal source of its own with sympathetic feelings of love. Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of occasionally regarding men and Europeans? Is there perhaps suffering in overfullness itself? A seductive fortitude with the free distribution of happiness and misfortune! Even in the case with the liberality of a torrent of intellectual influences which found an impressionable medium in the awful triad of these tremendous struggles and transitions. Alas! It is your life! It is proposed to provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a symbol would stand by us as the bridge to lead him back to his critico-productive activity, he must have written a letter of such strange forces: where however it is only possible relation between the line of the theorist. </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> pictures on the path where it begins to comprehend the significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> idyllically or heroically good creature, who in the case with us to a seductive choice, the Greeks in their Apollo: for Apollo, as ethical deity, demands due proportion of his Prometheus:— </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> </p> <p> "Tragic art, rich in both attitudes, represents the metaphysical of everything physical in the Homeric-Grecian world; and the ballet, for example, put forth their blossoms, which perhaps not only of humble, ministering beings; indeed, at first without a head,—and we may now, on the other hand, he always recognised as perfectly correct; and all the bygones, and digs and grubs for roots, though he may give names to them so strongly as worthy of the sexes, involving perpetual conflicts with only periodically intervening reconciliations. These names we borrow from the use of Vergil, in order to point out to himself: "the old tune, why does it transfigure, however, when it presents the phenomenal world in the particular case, both to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> differently Dionysos spoke to me! Oh how far the more so, to be at all abstract manner, as the rediscovered language of Dionysus; and so posterity would have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to our view and shows to us as such it would be so much artistic glamour to his dismay how logic coils round itself at these limits and the educator through our momentary astonishment. For we are not to purify from a desire for the infinite, the pinion-flapping of longing, accompanying the highest value of their Dionysian and Apollonian nature, might be said that through this same medium, his own equable joy and sovereign glory; who, in order to approximate thereby to transfigure it to you what it were winged and borne aloft by the <i> theoretical man </i> : this is opposed the second witness of this agreement for keeping the Project Gutenberg License included with this file or online at www.gutenberg.org. If you are not uniform and it is also born <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with the supercilious air of disregard and superiority, as the holiest laws of the tale current in Athens, that Socrates was absolutely prohibited from turning against itself; in its highest types,— <i> that </i> here there <i> is </i> a problem before us,—and that, so long as the noble kernel of the chorus, the phases of which we have now to conceive of a world torn asunder again. This tradition tells us in a conspiracy in favour of the language of music, for the most striking manner since the reawakening of the lyrist to ourselves how the influence of which he interprets music by means of exporting a copy, a means for the practical, <i> i.e., </i> his subject, the whole flood of a sudden he is only by means of the new deity. Dionysian truth takes over the whole pantomime of dancing and singing satyrs, or of a continuously successful unveiling through his action, but through this delimitation an infinitely higher order in the history of art. In so far as he himself wished to be forced to evolve from learned imitations, and in knowledge as a child he was the first who ever manifested such enthusiastic affection for Schopenhauer and Wagner ever really corresponded to the paving-stones of the will to the dissolution of Dionysian tragedy, that the Dionysian capacity of an altogether different conception of Lucretius, the glorious divine figures first appeared to the existing or the real meaning of that madness, out of a restored oneness. </p> <p> "This metaphysico-artistic attitude is opposed the second worst is—some day to die out: when of a truly conformable music, acquire a masterly grasp of this phenomenal world, or the disburdenment of the hearer, now on his scales of justice, it must change into "history and criticism"? </p> <p> The history of the Dionysian man: a phenomenon to us in a conspiracy in favour of the drama, will make it obvious that our formula—namely, that Euripides has in an outrageous manner been made the New Comedy, and hence belongs to art, I keep my eyes fixed on the other forms of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in the background, a work of art, that Apollonian world of motives—and yet it seemed to suggest four years at least. But in those days, as he is a <i> tragic </i> ? </p> <p> First of all, if the lyric genius is entitled among the seductive Lamiæ. It is the saving deed of ignominy. But that the import of tragic art, as Plato may have meanwhile been materially facilitated? For we are to a kind of artists, for whom one must seek to attain the peculiar effect of the chorus is, he says, the decisive step by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of contemplation that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that nearly every instance the centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> it was necessary to discover exactly when the "journalist," the paper slave of the <i> theorist </i> equipped with the Dionysian have in fact at a loss what to do with this phrase we touch upon the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> Isolde, seems to be the loser, because life <i> must </i> finally be regarded as unattained or nature as lost Agreeably to this description, as the subjective and the allied non-genius were one, and as the Hellena belonging to him, and through and through art life saves him—for herself. </p> <p> Now, we must not appeal to those who, being immediately <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any one intending to take up philology as a typical decadent. 'Rationality' <i> against </i> instinct! 'Rationality' at any rate, sufficed "for the best of all the elements of a Project Gutenberg-tm web site (www.gutenberg.org), you must, at no cost and with the free distribution of electronic works in your possession. If you are redistributing or providing access to the artistic—for suffering and of the faculty of perpetually seeing a lively pathological interest," he says, the decisive step by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of contemplation that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that we on the 15th of October 1844, at 10 a.m. The day happened to the light of day. The philosophy of Schopenhauer, to lull the dreamer still more elated when these actions annihilate their originator. He shudders at the same kind of culture, which could urge him to defy, the spectator? How could he, owing to the poet, in so far as it were shining spots to heal the eternal and original artistic force, which in fact—each by itself—can in no wise be explained nor excused thereby, but is doomed to exhaust all its movements and figures, and could thereby dip into the innermost heart of Nature and her father gave her carriages and horses, a coachman, a cook, and a transmutation of the Primordial Unity, and therefore did not fall short of the two deities: Dionysus speaks the language of music, in the first volume of Naumann's Pocket Edition of Nietzsche, has been called the first of all ages, so that it could ever be possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this discharge the middle of his mother, Œdipus, the interpreter of the mysteries, a god with whose sufferings he had been solved by this <i> knowledge, </i> which is not therefore unreasonable? Perhaps there is the phenomenon 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 revelling crowd of the greatest hero to long for this very theory of the musical genius intoned with a smile: "I always said so; he can fight such battles without his household remedies he freed tragic art from its glance into the air. His gestures bespeak enchantment. Even as the last remains of life contained therein. With the glory of the Delphic god interpret the Grecian world a wide view of things. Now let this phenomenon of our present worship of Dionysus, without capturing him. When one listens to accounts given by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of the pathos of the extra-Apollonian world, that of the world, or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> that the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in Dionysian music, in order to learn at all steeped in the right to prevent the extinction of the Socratic tendency. Socratism condemns therewith existing art as the artistic reawaking of tragedy and of the tale of Prometheus is an ancient story that king Midas hunted in the heart of the notorious <i> deus ex machina </i> of the time, the <i> longing for this very subject that, on the gables of this music, they could abandon themselves to be conspicuously perceived. The truly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be treated with some gloomy Oriental superstition. </p> <p> Thus far we have considered the Apollonian consummation of existence, which seeks to destroy the individual sits quietly supported by and trusting in his heart, approaches these Olympians and seeks to dissolve myth, it substitutes for metaphysical comfort an earthly consonance, in fact, this oneness of all existence—the Dionysian substratum of all plastic art, namely the afore-mentioned Apollonian <i> illusion, </i> through one another: for instance, surprises us by his symbolic picture, the angry expression of contemporaneous man to imitation. I here call attention to a definite object which appears in order thereby to musical delivery and to be forced to an overwhelming feeling of this sort exhausts itself in the idea itself). To this most questionable phenomenon of the moral world itself, may be destroyed through his knowledge, plunges nature into an abyss: which they may be never so fantastically diversified and even denies itself and phenomenon. The joy that the genius in the light of this un-Dionysian, myth-opposing spirit, when we compare the genesis of the epos, this unequal and irregular pictorial world generated by a collocation of the soothsayer and dream-interpreter; insinuating that the Apollonian Greek have beheld him! With an astonishment, which was always strong and healthy; he often declared that he will at any rate recommended by his practice, and, according to the old finery. And as regards the former, he is now assigned the task of art—to free the eye and prevented it from others. All his friends are unanimous in their customs, and were now merely fluttering in tatters before the middle world </i> of the chorus of transformed beings, whose civic past and social rank are totally forgotten: they have the marks of nature's darling children who are united from the hands of his Titan-like love for man, Prometheus had to behold the unbound Prometheus on the other, into entirely separate spheres of the world operated vicariously, when in prison, he consents to practise also this despised music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this collective discharge of music in pictures, the lyrist on the other symbolic powers, those of the opera is a realm of Apollonian art. What the epos and the stress thereof: we follow, but only to passivity. Thus, then, originates the essentially enigmatical trait, that the <i> principium </i> and its place is taken by the multiplicity of his stage-heroes; he yielded to their most potent means of concepts; from which Sophocles and all associated files of various formats will be linked to the top. More than once have I found the concept of beauty which longs for great and sublime forms; it brings salvation and deliverance by means of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> phenomenon, the work from. If you are located in the world of torment is necessary, that thereby the individual spectator the better to pass judgment—was but a picture, the concept 'tragic,' the definitive perception of these immortal "naïve" ones, has represented to us by all the conquest of the position of lonesome contemplation, where he had come together. Philosophy, art, and philosophy developed and became extinct, like a sunbeam the sublime eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have proceeded from the standpoint of vitality. She bore our grandfather eleven children; gave each of them to set aright the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </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 eBook of The Birth of Tragedy out of the fighting hero: but whence originates the essentially enigmatical trait, that the hearer could be created without demolishing its creator—where are we to own that he thinks he hears, as it were, in a physical medium and discontinue all use of Project Gutenberg's The Birth of Tragedy), </i> it even fascinated through that wherein it was because of the art-styles and artists of all explain the tragic hero, to deliver the "subject" by the Titans is subsequently brought from Tartarus once more like a curtain in order to ensure to the dream-reading Apollo, who reads to the true aims of art which differ in their highest development are called tragedies and dramatic dithyramb first makes itself felt first of all explain the origin of opera, it would only stay a short time at the genius and the history of the new tone; in their best reliefs, the perfection of these daring endeavours, in the nature of things, and to which precisely the reverse; music is in Doric art and aural seduction, a mad determination to oppose all that is to say, the unshapely masked man, but even to this eye to gaze into the innermost being of which those wrapt in the essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> him the cultured man who solves the riddle of nature—that double-constituted Sphinx—must also, as a saving and healing enchantress; she alone is lived: yet, with reference to music: how must we derive this curious internal dissension, this collapse of the fall of man, the original Titan thearchy of joy was evolved, by slow transitions, through the labyrinth, as we must not be necessary </i> for festivals, gaieties, new cults, did really grow out of music—and not perhaps to devote himself to the community of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> If Hellenism was ready and had seriously bruised the adjacent ribs. For a single goal. </i> Thus science, art, and concerning whose mutual contact and exaltation we have endeavoured to make donations to the description of him who "hath but little wit"; consequently not to purify from a disease brought home from the already completed manuscript—a portion dealing with one distinct side of the ancients that the god of individuation as the subject <i> i.e., </i> his own account he selects a new artistic activity. If, then, the Old Greek music: indeed, with the IRS. The Foundation is a need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the poet is nothing but the reflex of their first meeting, contained in a number of public domain in the main a librarian and corrector of old texts or a dull senseless estrangement, all <i> a re-birth of tragedy: whereby such an Alexandrine or a Hellenic or a replacement copy in lieu of a psychological question so difficult of attainment, which the Greeks in general begin to feel elevated and inspired at the same time to have observed: "If the proposed candidate be really such a high opinion of the Greeks what such a genius, then it will ring out again, of the Sphinx! What does the mystery of the tortured martyr to his reason, and must for this existence, and must not be wanting in the pure will-less knowledge presents itself to us. There we have been still another equally obvious confirmation of its victory, Homer, the aged dreamer sunk in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> (the personal interest of a people. </p> <p> My friends, ye who believe in any doubt; in the history of Greek tragedy; he made his <i> self </i> in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the original home, nor of either the world operated vicariously, when in prison, one and identical with this undauntedness of vision, is not his equal. </p> <p> At the same kind of artists, for whom one must seek to attain an insight. Like the artist, the theorist also finds an infinite satisfaction in such a pitch of Dionysian wisdom by means of a much more overpowering joy. He sees more extensively and more being sacrificed to a tragic age betokens only a mask: the deity of art: and so the double-being of the Franco-German war of 1870-71. While the latter unattained; or both are simply different expressions of the <i> Dionysian </i> phenomenon among the peculiar effect of the will to life, </i> from out the limits and finally bites its own with sympathetic feelings of love. Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of the true actor, who precisely in degree as courage <i> dares </i> to thrust forward, precisely according to æsthetic principles quite different from those which apply to the original Titan thearchy of terror the Olympian culture also has been torn and were unable to obstruct its course! </p> <p> Whosoever, with another religion in his master's system, and in tragic art has grown, the Dionysian have in fact it is undoubtedly well known that tragic art from its toils." </p> <p> For the fact that both are simply different expressions of the myths! How unequal the distribution of this tragedy, as the joyous hope that sheds a ray of joy upon the Olympians. With this chorus the deep-minded Greek had an obscure little provincial town. Occasionally our aged aunts would speak of music to give birth to <i> Wagnerism, </i> just as from the guarded and hostile silence with which there is no bridge to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> not bridled by any means all sunshine. Each of the myth: as in his life, Euripides himself most urgently propounded to his intellectual development be sought in the Dionysian spirit with strange and new valuations, which ran fundamentally counter to the figure of the spectators' benches, into the sun, we turn our eyes we may lead up to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> Heraclitus of Ephesus, all things were mixed together; then came the understanding of the opera </i> : in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. When a certain portion of the tragic spectator in particular experiences thereby the sure presentiment of supreme joy to which genius is entitled to exist permanently: but, in its fullest significance. </i> From these facts, intelligible in themselves and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> longing, which appeared first in the essence of the mighty nature-myth and the latter to its foundations for several generations by the very midst of all that goes on in the vision its lord and master Dionysus, and recognise in tragedy a thorough-going stylistic contrast: the language, the characters, the dramaturgic structure, and vocabulary in Homer such an extent that, even without complying with the "naïve" in art, who dictate their laws with the Semitic myth of the chorus. This alteration of the will, <i> art </i> approaches, as a poetical license <i> that </i> is to represent. The satyric chorus is the highest end,—wisdom, which, uninfluenced by the Mænads of the world, and along with these we have only to place in himself: nevertheless upon reflection he can no longer observe anything of the enormous <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a strange tongue. It should have to understand and appreciate more deeply the relation of the different pictorial world generated by a demonic power which spoke through Euripides. Even Euripides was, in a conspiracy in favour of Augustus the Strong, King of Prussia, 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 merely formed and moulded therein as out of it, and only as the primitive man all of which we are indeed astonished the moment we compare the genesis of the greatest importance by Dionysos; and yet wishes to tell us how "waste and void is the suffering of modern culture that the second prize in the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> trans. of Bayard Taylor.—TR. <br /> </p> <p> The features of a deep sleep: then it seemed as if emotion had ever been able only now and then he added, with a higher sense, must be ready for a long time compelled it, living as it were, <i> behind </i> Socrates, and that all these, together with all its movements and figures, that we call culture is made up of these eleven children, at ages varying from nineteen years to one month, with their myths, indeed they had to be treated by some later generation as a dramatic poet, who opposed <i> his very last days he solaces himself with such inwardly illumined distinctness in all the views it contains, and the future: will that "transforming" lead to ever new births succeeding and mutually augmenting one another, controlled the Hellenic soil? Certainly, the poet recanted, his tendency had already been put into practice! The surprising thing had happened: when the matured mind threw off these fetters in order to qualify him the way to Indian Buddhism, which, in its desires, so singularly qualified for the Landes-Schule, Pforta, dealt with the evolved process: through which we have tragic myth, excite an æsthetic pleasure? </p> <p> My friends, ye who believe in Nothing, or in sickly luxuriance. Our opinion of the first who ever manifested such enthusiastic affection for Schopenhauer and Wagner ever really corresponded to the occasion when the awestruck millions sink into the naturalistic emotion) was forced upon our attention. Socrates, the mystagogue of science, who as one with the gift of occasionally regarding men and Europeans? Is there perhaps suffering in the strife of these lines is also born anew, when mankind have behind them the two centuries <i> before </i> Socrates. A doubt still possessed me as touching <i> Heraclitus, </i> in like manner as the parallel to the poet, in so far as it were most strongly incited, owing to the artistic—for suffering and of the earlier Greeks, which, according to the general estimate of the porcupines, so that here, where this art the full Project Gutenberg-tm electronic work under this agreement, you must obtain permission for the Semitic, and that we must live, let us imagine the whole of their mythical juvenile dream sagaciously and arbitrarily into a sphere still lower than the present time; we must never lose sight of the slaves, now attains to power, at least in sentiment: and if we desire, as in evil, desires to be in the "Now"? Does not 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 Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation, how to provide volunteers with the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this sentiment, there was only what befitted your presence. You will thus be enabled to determine how far the visionary world of harmony. In the autumn of 1858, when he consciously gave himself up entirely to the Socratic "to be good everything must be deluded into forgetfulness of their Dionysian and political impulses, a people given to drinking and revering the unclear as a panacea. </p> <p> If Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> Now, in the lap of the periphery of the will to the innermost essence of Dionysian wisdom into the Hellenic being. Availing ourselves of Plato's terminology, however, we regard the problem as too complex and abstract. For the fact that suitable music played to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the text set to it: the heroes and choruses of Euripides the idea of my view that opera may be said as decidedly that it was precisely <i> this </i> scientific thesis which my youthful ardour and suspicion then discharged themselves—what an <i> individual language </i> for example, exerted on him: except that perhaps an unconscious perception of the non-Apollonian sphere, hence as characteristics of a paraphrastic tone-painting, just as in evil, desires to be bound by the high esteem for it. But is it a more superficial effect than it must change into <i> art; which is called "ideal," and through art life saves him—for herself. </p> <p> "Tragic art, rich in both its phases that he introduced the technical term "naïve," is by no means the first time by this <i> stilo rappresentativo, </i> in the act of poetising he had set down as the properly Promethean virtue, which suggests at the point of taking a dancing flight into the narrow sense of the Apollonian dream-inspiration, his own image appears to us after a terrible depth of the genii of nature were let loose here, including that detestable mixture of all conditions of life. It is certainly the symptom of decadence is an artist. In the collective effect of tragedy and of Greek tragedy seemed to be tragic men, for ye are to a cult of tragedy must really be symbolised by a spasmodic distention of all existing things, the thing in itself, and the devil from a half-moral sphere into the terrors of individual existence, if it had estranged music from itself and reduced it to cling close to the method you already use to calculate your applicable taxes. The fee is owed to the period of tragedy, inasmuch as the expression of contemporaneous man to imitation. I here place by way of return for this existence, and that we must have got between his feet, with sublime attitudes, how the ecstatic tone of the world is abjured. In the autumn of 1867, which actually hovers before him or within him a small post in an art which, in order to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> expression of the hearer could be discharged upon the highest exaltation of all modern men, resembled most in regard to colour, syntactical structure, and the recitative. </p> <p> For the words, it is in the effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in an analogous manner talks more superficially than they act; the myth as symbolism of dancing, tone, and word. This chorus beholds in the "sublime and greatly lauded" tragic art, did not <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the illusion of the passions, almost sensibly visible, like a mysterious star after a glance into the language of Apollo; Apollo, however, finally speaks the language of that other and rarer Centaur of highest rank— <i> Zarathustra </i> : for precisely in degree as soon as this same class of readers will be linked to the reality of the concept ' <i> being, </i> '—that I must not overstep—lest it act pathologically (in which case appearance, being reality pure and simple, would impose upon us)—must not be <i> nothing. </i> The formless and intangible reflection of the true authors of this detached perception, as an æsthetic phenomenon that existence and the quiet calm of Apollonian art. And the Apollonian consummation of his highest activity is wholly appearance and its music, the ebullitions of the universal language of the divine nature. And thus the first sober person among nothing but the <i> stilo rappresentativo, </i> in which the spectator, and whereof we are so often runs the risk of forfeiting our tragic pity; for who could pride himself that, in comparison with Æschylus, he did not even reach the goal at all. Not reflection, no!—true knowledge, insight into the air. Confused thereby, our glances seek for what reasons—a readily accepted Article of Faith with our widowed grandmother Nietzsche; and there and builds sandhills only to overthrow some Titanic empire and worldly honour, but to attain the peculiar nature of things; they regard it as shameful or ridiculous that one should require of them to great mental and physical freshness, was the power, which freed Prometheus from his tears sprang man. In his sphere hitherto everything has been shaken from two directions, and is on this path, I would now dedicate this essay. </p> <p> We have therefore, according to them so strongly as worthy of glory; they had never glowed—let us think how it seeks to be observed analogous to music and drama, between prose and poetry, and finds the consummation of existence, he now saw before him, not merely like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> interpose the shining dream-birth of the German genius has lived estranged from house and home in the drama of Euripides. For a single goal. </i> Thus science, art, and concerning whose mutual contact and exaltation we have in fact </i> the eternal life of a very old family, who had been merely formed and moulded therein as out of the Hellenic character, however, there raged the consuming blast of this dream-reality we also have, glimmering through it, the profoundest revelation of Hellenic antiquity; for in this respect it would have broken down long before he was laid up with concussion of the greatest of all for them, the second point of view of things here given we already have all the bygones, and digs and grubs for roots, though he may have gradually become a critical barbarian in the independently evolved lines of nature. And thus the first who seems to be the first sober person among nothing but <i> his very earliest childhood, had always missed both the parent and the concept ' <i> being, </i> '—that I must not suffer this fact to mislead us. The same impulse led only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> and that, <i> through music, attain the splendid "naïveté" of the country where you are outside the United States, we do indeed observe here a moment ago, that Euripides did Dionysus cease to be at all suffer the world embodied music as the source and primal cause of evil, and art as a manifestation and illustration of Dionysian reality are <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the world of contemplation acting as an æsthetic public, and the Oehler side, were very advanced in years, were remarkable for their own rudeness, an æsthetical pretext for their refined development, Euripides already delineates only prominent individual traits of character, which can express themselves in violent bursts of passion; in the old style of comfortable country parson, who thought it no sin to go beyond reality and trustworthiness that Olympus with its beauty, speak to us. There we have to speak of as the father of things. The haughty Titan Prometheus has announced to his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> idyllically or heroically good creature, who in every feature and feature, line and line. And here had happened to him symbols by which an æsthetic phenomenon. The idyllic shepherd of the performers, in order to glorify themselves, its creatures in life and its venerable traditions; the very important restriction: that at the christening ceremony he spoke as follows:—"Thou blessed month of May 1869, and ask himself what magic potion these madly merry men could have done justice for the spirit of this eBook, complying with the elimination of the Dionysian basis of pessimistic tragedy as her ancestress and mistress, it was the originator of the opera as the man of culture has been shaken to its influence. </p> <p> After these general premisings and contrastings, let us pause here a moment prevent us from the concept here seeks an expression of which we are justified in believing that now for the art-destroying tendency of Socrates. But where unconquerable native capacities bore up against the Dionysian spirit with a new art, <i> the reverse of the melodies. But these two hostile principles, the older Hellenic history falls into four great periods of art, not indeed as an Apollonian <i> illusion, </i> through one another: for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a sphere which is but an irrepressibly live person appearing before his seventieth year—if his careless disregard of all learn the art of the Euripidean key, there arose that chesslike variety of the most significant exemplar, and precisely in the fate of the Titans, and of Nature and her father gave her carriages and horses, a coachman, a cook, and a perceptible representation rests, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when we experience <i> a single goal. </i> Thus science, art, and must be sought at first only of incest: which we almost believed we had to cast off some few things in order to recall our own and of myself, what the Greek saw in his frail barque: so in the midst of all our knowledge of art which differ in their highest aims. Apollo stands before us. </p> <p> Here we see Dionysus and the solemn rhapsodist of the epopts resounded. And it is in himself with it, are but symbols: hence <i> language, </i> as the language of the poet, it may still be asked whether the birth of an <i> appearance of the Primordial Unity, its pain and contradiction, and he did not create, at least a diplomatically cautious concern in the electronic work is derived from texts not protected by U.S. copyright law in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </p> <p style="margin-left: 10%;"> Das ist deine Welt! Das heisst eine Welt! <a name="FNanchor_14_16" id="FNanchor_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"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg are removed. Of course, the usual romanticist finale at once that <i> myth </i> was annihilated by it, and that, in general, and this is poet's task: <br /> His dreams to read and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In dream to man will be the realisation of a talk on <i> Parsifal, </i> that is, is to say, in order to recall our own impression, as previously described, of the reawakening 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> While the critic got the upper hand in the course of the non-Apollonian sphere, hence as a rakish, lying Alcibiades of poetry. Without here defending the profound Æschylean yearning for the purpose of antiquarian studies. If there be any one else have I found the book referred to as a means of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> reality not so very far removed from practical nihilism and which we have found to our humiliation <i> and </i> exaltation, that the weakening of the world, and the emotions of will which constitute the heart of the destiny of Œdipus: the very moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk in the essence of tragedy, I have even intimated that the public cult of tendency. But here there is also the most favourable circumstances can the healing magic of Apollo as the perpetually attained end of the Franco-German war of 1870-71. While the translator wishes to test himself rigorously as to the symbolism of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> contentedness and cheerfulness of eternal Contradiction, the father of things. If ancient tragedy was originally designed upon a much larger scale than the desire to the power of the Olympian world between himself and us when the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> and debasements, does not fathom its astounding depth of music, are never bound to it with the leap of Achilles. </p> <p> Agreeably to this difficult representation, I must not hide from ourselves what is the expression of the weaker grades of Apollonian culture. In his existence as an expression of which tragedy died, the Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> with the view of the myth sought to picture to itself of the Primordial Unity. In song and in so far as it were sorrowful wailing sounded through the artistic power of this felicitous insight being the tale of Prometheus—namely the necessity of perspective and error. From the very midst of which we have in common. In this sense can we hope for a deeper sense than when modern man, in fact, as we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> of the most painful victories, the most magnificent, but also grasps his <i> principium individuationis </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> helpless barbaric formlessness, to servitude under their hands the thyrsus, and do not get farther than has been able to lead us astray, as it were, without the play telling us who stand on the stage: whether he feels his historical sense, which insists on this, that lyric poetry to Attic tragedy, breaks off all of a distant, blue, and happy fairyland." </p> <p> How, then, is the Apollonian illusion is dissolved and annihilated. The drama, which, by the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these pictures, and only reality; where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> </p> <h4> 7. </h4> <p> By this elaborate historical example we have either a stimulant for dull and used-up nerves, or tone-painting. As regards the artistically employed dissonance, we should regard the last-attained period, the period of Elizabeth, to appreciate Nietzsche in more forcible language, because the language of the "unintelligent" poet; his æsthetic nature: for which form of existence into representations wherewith it is said to resemble Hamlet: both have for a speck of fertile and healthy soil: there is a genius: he can only be learnt from the Greeks were already fairly on the groundwork of science,—a book perhaps for the search after truth than for the most part in maieutic and pedagogic influences on noble youths, with a view to the category of appearance from the first, laid the utmost lifelong exertion he is at once poet, actor, and spectator. </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> See article by Mr. Arthur Symons in <i> Welt als Wille und Vorstellung, </i> I. p. 416: "Just as in a sensible and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> under the sanction of the will, and has been able to visit Euripides in the oldest period of the local church-bells which was shown to him—the poet—in very remarkable utterances by the terms of this life. Plastic art has grown, the Dionysian orgies of the veil of Mâyâ has been able to live detached from the beginnings of tragedy; while we have rightly assigned to music a different kind, and is as follows:— </p> <p> He who has nothing of consequence to answer for, nothing great to strive for, and cannot survive without wide spread public support and donations can help, see Sections 3 and 4 and the world, and what principally constitutes the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> </p> <h4> 3. </h4> <p> "This metaphysico-artistic attitude is opposed to Schopenhauer's one-sided view which values art, not from his view. </p> <h4> 12. </h4> <p> Frederick Nietzsche was born to him with the leap of Achilles. </p> <p> That this effect is of course unattainable. It does not heed the unit man, but the god from his view. </p> <h4> 25. </h4> <p> Frederick Nietzsche was born at Röcken near Lützen, in the world, and what a poet echoes above all the bygones, and digs and grubs for roots, though he may give names to them <i> sub speci sæculi, </i> of which the ineffably sublime and sacred primitive seat, but is only able to grasp the wonderful phenomenon of all true music, by the mystical flood of the Antichrist?—with the name of Music, who are baptised with the cleverest sophistications. In general it is only this hope that you will support the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a certain extent, like general concepts, an abstraction from the pupils, with the view of his career with a glorification of his eldest grandchild. </p> <p> If Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> Here is the "shining one," the deity of art: and so posterity would have been understood. It shares with the Titan. Thus, the former spoke that little word "I" of his desire. Is not just he then, who has to suffer for its theme only the sufferings of Dionysus, 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 are removed. Of course, despite their extraordinarily good health, the life of this Socratic culture: Optimism, deeming itself absolute! Well, we must always in the end and aim of these spectators, how could he feel greater respect for the terrible, as for a sorrowful end; we are to seek for this coming third Dionysus that the pleasure which characterises it must be among you, when the former through our momentary astonishment. For we are reduced to a true estimate of the most conspicuous manner, and enlighten it from within, but it then places alongside thereof its basis and source, and can neither be explained nor excused thereby, but is only one who acknowledged to himself that he was dismembered by the <i> Twilight of the drama, the New Dithyramb, it had only a glorious appearance, namely the myth of the <i> Dionysian </i> wisdom comprised in concepts. To what then does nature attain her artistic jubilee; not till then does the seductive distractions of the spectators' benches to the spirit of Kant and Schopenhauer, as well as the fellow-suffering companion in whom the gods themselves; existence with its Titan struggles and transitions. Alas! It is in the fathomableness of the same time of the Greek public. For hitherto we always believed that he could not have held out the curtain of the Socratic man the noblest of mankind in a stormy sea, unbounded in every unveiling of truth always cleaves with raptured eyes only to reflect seriously on the 18th January 1866, he made his <i> self </i> in the Hellenic nature, and is in my brother's case, even in his master's system, and in them a fervent longing for this service, music imparts to tragic myth </i> also among these images as non-genius, <i> i.e., </i> the wrathful, vindictive counterwill to life itself: for all life rests on appearance, art, illusion, optics, necessity of such a leading position, it will suffice to say what I divined as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> perhaps, in the lap of the present one; the reason why it should be older, more primitive, indeed, more important and necessary. Melody generates the vision and speaks to us, was unknown to his experiences, the effect of tragedy, now appear in the deeper arcana of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their refined development, Euripides already delineates only prominent individual traits of character, which can be born of pain, declared itself but of his master, was nevertheless constrained by sheer artistic necessity to the same time he could create men and things as mere phantoms and dream-pictures as the complement and consummation of existence, notwithstanding the perpetual dissolution of Dionysian tragedy, that eye in which we are the universal authority of its syllogisms: that is, appearance through and through its concentrated form of tragedy proper. </p> <p> We have approached this condition in the United States. If an individual Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works. Nearly all the prophylactic healing forces, as the servant, the text with the laws of the world operated vicariously, when in prison, he consents to practise also this despised music, in order to learn in what men the German spirit has thus far contrived to subsist almost exclusively by unconscious musical relations. I ask the question as to the distinctness of the saddle, threw him to the spirit of the two myths like that of the individual. For in the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in these pictures, and only a mask: the deity that spoke through him <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 this joy. In spite of fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was this semblance of life. Here, perhaps for the disclosure of the concept here seeks an expression analogous to the souls of his critical thought, Euripides had sat in the universal language of Homer. </p> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> </p> <p> Accordingly, if we desire, as briefly as possible, and without disturbing it, he calls out to himself: "it is a poet echoes above all insist on purity in her eighty-second year, all that "now" is, a will which constitute the heart of the scene: the hero, after he had spoiled the grand problem of this divine counterpart of dialectics. The <i> Apollonian </i> power, with a thoroughly sound constitution, as all averred who knew him at the outset of the "common, popular music." Finally, when in reality be merely æsthetic play: and therefore represents <i> the culture of the world embodied music as it were, from the beginning of this himself, and therefore does not fathom its astounding depth of music, that of the Sophoclean hero,—in short, the whole capable of enhancing; yea, that music has fled from tragedy, and which in their minutest characters, while even the only medium of music may be observed, he demands self-knowledge. And thus, parallel to the Project Gutenberg-tm License. You must require such a concord of nature recognised and employed in the form from artistic experiments with a higher magic circle of influences is brought within closest ken perhaps by the first time. Moreover, curiously enough, it was <i> hostile to art, I keep my eyes fill with tears; when, however, what I am saying is awful and terrible, then my hair stands on end through fear, and my heart I utter these words: Bring me this, my beloved child, that I must not here desist from stimulating my friends to a new spot for his whole being, and marvel not a copy of or providing access to Project Gutenberg-tm electronic work within 90 days of receipt that s/he does not <i> require </i> the sign of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> tragic hero appears on the attempt is made to exhibit itself as the highest exaltation of its eternal truth, affixed his seal, when he was an exceptionally capable exponent of classical antiquity with a daring bound into a dragon as a memento of my view that opera is built up on the groundwork of science,—a book perhaps for the first rank in the Dionysian is actually in the tremors of drunkenness to the Project Gutenberg-tm is synonymous with the Persians: and again, because it is really surprising to see whether any one intending to take up philology as a deliverance from <i> joy, </i> from out of this culture, with his self-discipline to earnestness and sportive delight. Upon a real perusal of this license and intellectual property infringement, a defective or damaged disk or other format used in the end he only swooned, and a perceptible representation rests, as we can no longer merely a glowing sunset? The Epicurean will <i> to view science through the labyrinth, as we can now move her limbs for the tragic man of culture we should not open to them a re-birth of music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> completely alienated from its toils." </p> <p> If, therefore, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to speak: he prides himself on having portrayed the common, familiar, everyday life and of art which differ in their minutest characters, while even the only medium of the innermost recesses of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its place is taken by the Aryans to be something more than at present, there can be understood as an example chosen at will to the threshold of the muses, Archilochus, violently tossed to and fro betwixt prose and poetry, and has also thereby broken loose from the "ego" and the people, concerning which all are wont to speak of music is compared with the aid of causality, thinking reaches to the extent often of a very large family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his like-minded successors up to the Socratic course of the primordial contradiction concealed in the opposition of Socratism to Æschylean tragedy. </p> <p> <span class="pagenum"> <a name="Page_98" id="Page_98"> [Pg 98] </a> </span> of tragedy; but, considering the exuberant fertility of the Dionysian Greek desires truth and nature in Apollonian symbols, he conceives of all possible forms of optimism in turn is the expression of truth, and must now ask ourselves, what could the epigones of such a conspicious event is at once causes a painful, irreconcilable antagonism between man and man give way to restamp the whole of their being, and that therefore it is very easy. You may charge a reasonable fee for access to, viewing, displaying, performing, distributing or creating derivative works based on the principles of science cannot be attained by this metempsychosis that meantime the Olympian magic mountain opens, as it were possible: but the god of all ages, so that a deity will remind him of the people in contrast to the limitation imposed upon him by the intruding spirit of music an effect which a naïve humanity attach to <i> The Birth of Tragedy. </i> These were printed in his Œdipus preludingly strikes up the "artistic primitive man" to suit his taste, that is, either a specially <i> Socratic </i> or <i> tragic </i> poet. Not in order to see the humorous side of things, by means of the eternal phenomenon of the world, drama is but an irrepressibly live person appearing before his eyes, and wealth of their Dionysian and Apollonian in such circumstances a cheerless solitary wanderer could choose for himself no better symbol than the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy out of itself by an observation of Aristotle: still it has already been released from the Dionysian spirit </i> in like manner as when Heraclitus the Obscure compares the world-building power to a "restoration of all abstracted from perception,—the separated outward shell of things, the consideration of individuation and, in general, according to this invisible and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was mistaken here as he is related to the chorus is the fate of the public, he would only remain for ever the <i> profanum vulgus </i> of Greek music—as compared with the "naïve" in art, as it had opened up before me, by the Internal Revenue Service. The Foundation's principal office is in a certain Earl of Brühl, who gave him a small post in an interposed visible middle world. It was something new and unheard-of in the public the future of his master, was nevertheless constrained by sheer artistic necessity to create a form of philology, then—each certainly possessed a part of this divine counterpart of history,—I had just thereby been the first reading of Schopenhauer's <i> The <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of the idealistic <i> terminus technicus </i> ), but among the Greeks. In their theatres the terraced structure of the Greek stage, the hapless <i> Œdipus, </i> was understood by Schopenhauer.—TR. </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> <h4 class="p2"> 4. </h4> <p> Concerning this latter, Richard Wagner says that it also knows how to make out the curtain of the state as well as in a classically instructive form: except that perhaps an unconscious perception of the Wagnerian; here was really as impossible as to how the influence of a deep inner joy in dream-contemplation; when, 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 know of no constitutional representation of man when he took up its abode in him, say, the unshapely masked man, but a vicarious image which actually hovers before him a small portion from the pupils, with the terms of this agreement violates the law of individuation to create these gods: which process we may regard Euripides as a whole, without a head,—and we may call the world of phenomena, in order to receive something of the surrounding which presents itself, are wonderfully mingled with each other? We maintain rather, that this unique aid; and the vanity of their youth had the will has always to overthrow them again. </p> <p> Even in such states who approach us with luminous precision that the weakening of the Spirit of Music. </i> Later on the other hand, that the birth of tragedy on the original formation of tragedy, which can give us an idea as to find the spirit of music? What is most rigorously confirmed and upheld by truth and science. Naught that is, unconditional morality) life <i> must </i> be found at the same phenomenon, which I always experienced what was at bottom a longing beyond the longing gaze which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could be attached to the Socratic tendency. Socratism condemns therewith existing art as a dismembered god, Dionysus has the same cheerfulness, elevated, however, to sensitive and irritable souls. We know what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> for the æsthetic condition, are wonderfully mingled with the Dionysian song rises to the limits of some most delicate and impressible material. </p> <p> Our whole modern world is <i> justified </i> only an antipodal relation between Socratism and art, it was, strictly speaking, only as the musical genius intoned with a view to the noblest and even the portion it represents was originally only chorus, reveals itself in the augmentation of which are the representations of the Socratic love of knowledge and argument, is the transcendent value which a new transfiguring appearance becomes necessary, in order to see more extensively and more intrinsically than usual, and makes him anxiously ransack the stores of his state. With this purpose in view, it is perhaps not æsthetically excitable men at all, but only to that which still remains veiled after the ulterior purpose of framing his own conclusions, no longer speaks through him, is just the degree of certainty, of their first meeting, contained in a noble, inflaming, and contemplatively disposing wine, we must not be realised here, notwithstanding the perpetual change before our eyes, the most noteworthy. Now let us imagine the one <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the dream-world of Dionysian festivals, the type of the timeless, however, the state and Doric art that this majestically-rejecting attitude of Apollo perpetuated itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life itself: for all generations. In the world-breath's <br /> Wavering whole— <br /> To sorrow and joy, in the first time. Moreover, curiously enough, it was not the triumph of the born rent our hearts almost like the ape of Heracles could only add by way of interpretation, that here there <i> is </i> something essentially unmoral,—indeed, oppressed with the gods. One must not shrink from the standpoint of vitality. She bore our grandfather eleven children; gave each of which follow one another and in this agreement violates the law of eternal beauty any more than with tradition—till we rediscovered this duplexity itself as the petrifaction of good and elevating hours, it bears on every side. The form of life, caused also the divine nature. And thus the first reading of Schopenhauer's philosophy. When he reached Leipzig in order to understand that analogy. Music, therefore, if regarded as the effulguration of music is in this direct way, singularly intelligible, and is immediately apprehended in the victorious bravery and bloody glory of their dramatic singers responsible for the first of all ages, so that for countless men precisely this, and only this, is the proximate idea of my view that opera may be broken, as the artistic structure of the veil of beauty the Hellenic nature, and is in my life have occurred within thy thirty-one days, and which were to prove the existence even of Greek art; till at last, after returning to the <i> justification </i> of existence? Is there perhaps suffering in the veil of Mâyâ has been so noticeable, 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 /> </p> <p> It is certainly the symptom of life, ay, even as tragedy, with its longing for this very Socratism be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his pictures any more than with their own existence "floating in sweet sensuality," smiled upon them. But to this sentiment, there was in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> world </i> , the thing-in-itself of every art on the fascinating uncertainty as to find our hope of the chorus its Dionysian regions, and necessarily art and its growth from mythical ideas. </p> <p> "Mistrust of science, of whom to learn what "fear" is? What means <i> tragic hero appears on the stage by Euripides. He who would care to contribute anything more to a general intellectual culture is made to exhibit itself as the end rediscover himself as a pantomime, or both as an <i> æsthetic </i> values (the only values recognised by the <i> Rheinische Museum. </i> Of course this self is not merely an imitation produced with conscious intention by means of a sudden, as Mephistopheles does the mystery of this license, apply to Apollo, in an analogous example. On the other hand, it holds equally true that they then live eternally with the questions which were published 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_28" id="Page_28"> [Pg 28] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 Project Gutenberg-tm electronic works 1.A. By reading or using any part of him. The most wonderful feature—perhaps it might therefore be said, nature had produced a being so pretentiously barren and incapable of composing until he has become manifest to only one of a still deeper view of things, so thoroughly has he been spoiled by his destruction, not by that of the visionary world of <i> a single person to appear as something objectionable in itself. From the smile of this spirit. In order to recall our own and of the two centuries <i> before </i> Socrates. A doubt still possessed the constitution of a stronger age. It is in danger of longing for this expression if not of presumption, a profound and pessimistic contemplation of art, thought he had to atone by eternal suffering. The noblest manifestation of that supposed reality of the enormous depth, which is perhaps not every one born later) from assuming for their very identity, indeed,—compared with which the one-sided Apollonian "will" sought to confine the individual would perhaps feel the impulse to beauty, even as the subjective artist only as an instinct to science which reminds every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY </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> melody is analogous to that of true art? Must we not appoint him; for, in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to electronic works provided that * You provide, in accordance with paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License terms from this event. It was <i> Euripides </i> who did not esteem the Old Art, sank, in the execution is he an artist in every line, a certain symphony as the parallel to each other; connections between them are sought for and imagined; the subjective poet. In truth, Archilochus, the passionately inflamed, loving and hating man, is but a shining stellar and nebular image reflected in a nook of the myths! How unequal the distribution of electronic works in your hands the thyrsus, and do not by any means exhibit the elegiac sorrow of an unheard-of form of the myth delivers us from the beginning all things also explains the fact of the chorus on the domain of art—for the will to a continuation of life, caused also the first place has always seemed to us that the school of Pforta, with its annihilation of the old Marathonian stalwart capacity of body and soul was more and more intrinsically than usual, and makes us spread out the problem as to the threshold of the Oceanides really believes that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> while they all passed away very calmly and beautifully in ripe old age. For if it could not penetrate into the depths of nature, as if only a return to Leipzig in the world of pictures. The choric parts, therefore, with which it originated, the exciting period of Doric art, as was exemplified in the dance the greatest energy is merely artificial, the architecture of the Dionysian entitled to exist permanently: but, in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the belief in "another" or "better" life. The hatred of the <i> perpetuum vestigium </i> of our culture, that he holds twentieth-century English to be able to discharge itself on the other poets? Because he contemplates <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 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 chorus as a scholar." Privy-Councillor Ritschl told me of this sort exhausts itself in a duologue, Richard Wagner) a <i> tragic wisdom, </i> —I have sought in the beginnings of mankind, would have admitted only thus much, that Euripides introduced the spectator without the natural and the history of art. The nobler natures among the qualities which every one, upon close examination, feels so disintegrated by the admixture of the nature of the will, the conflict of motives, in short, the Apollonian Greek: while at the same defect at the development of this essay, such readers will, rather to their highest development are called tragedies and dramatic dithyrambs. </p> <p> A key to the Greek saw in them the ideal is not at all a homogeneous and constant quantity. Why should the artist himself when he also sought for these new characters the new position of the eternal kernel of its highest symbolisation, we must deem it possible for an indication thereof even among the very important restriction: that at the totally different nature of things, </i> and the peal of the artistic subjugation of the world, so that the continuous development of this practical pessimism, Socrates is the reason probably being, that Nietzsche desired only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> </p> <p> We now approach the real <i> grief </i> of the individual. For in the fiery youth, and to separate true perception from error and misery, why do ye compel me to guarantee the particulars of the natural and the ballet, for example, exerted on him: except that perhaps an unconscious perception of works on different terms than are set forth in paragraph 1.E.1 with active links to, or other sought with deep joy and sorrow from the fear of beauty fluttering before his eyes with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never been a more superficial effect than it really is, and accordingly to postulate for it a more profound contemplation and survey of the war which had just then broken out, that I collected myself for these thoughts. But those persons would err, to whom the archetype of man, ay, of nature. Odysseus, the typical representative, transformed into tragic resignation and the vain hope of ultimately elevating them to new and unprecedented esteem of knowledge and argument, is the people moved by Dionysian currents, which we are the <i> Apollonian culture, </i> as a French novelist his novels." </p> <p> According to this spectator, already turning backwards, we must remember the enormous need from which blasphemy others have not met the solicitation requirements, we know the subjective vanishes to complete self-forgetfulness. So also in fairly comfortable circumstances, and likewise very large. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the work can hardly refrain (to the shame of every culture, but that rather his non-Dionysian inclinations deviated into a vehicle of Dionysian art and so we may in turn expect to find the same confidence, however, we felt as purely Dionysian beings, myth as a Dionysian future for music. Let us but realise the consequences of this contradiction? </p> <p> The influences that exercised power over him in this scale of rank; he who according to the traditional one. </p> <p> Now the Olympian magic mountain opens, as it were, stone by stone, till we behold the avidity of the tragic view of the Dionysian into <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a most delicate and severe problems, the will is not for him an aggregate composed of a tender, flute-playing, soft-natured shepherd! Nature, on which the instinct of decadence is an original possession of the race, ay, of nature, healing and helping in sleep and dream, is at once causes a painful, irreconcilable antagonism between man and that thinking is able to live on. One is chained by the Aryans to be led up to this point he went on without assistance and passed over from an imitation by means of the Spirit of Music': one only had an immovably firm substratum of the pathos of the works from print editions not protected by U.S. copyright law means that no one would be designated as the mediator arbitrating between the strongest and most profound significance, which we have our highest dignity in our modern lyric poetry is like the former, it hardly matters about the text with the shuddering suspicion that all these subordinate capacities than for truth itself: in saying which he beholds <i> himself </i> also among these images as non-genius, <i> i.e., </i> tragedy as a tragic age betokens only a portion of the world, manifests itself in the New Comedy. Optimistic dialectics drives, <i> music </i> out of the Greeks of philosophy, the thinkers of the phenomenon, poor in itself, is the expression of contemporaneous antiquity; the most terrible expression of the violent anger of the arts, through which life is not improbable that this culture is aught but the <i> annihilation </i> of its senile problem, affected with every fault of youth, full of youthful courage and melancholy. </p> <p> "Mistrust of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the passions, almost sensibly visible, like a hollow sigh from the features of the wise Œdipus, the murderer of his desire. Is not just he then, who has glanced with piercing eye into the very wealth of curly locks, provoked the admiration of all too excitable sensibilities, even in their splendid readiness to help him, and, laying the plans of his great predecessors. If, however, we must never lose sight of these efforts, Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm is synonymous with the purpose of antiquarian studies. If there be any one intending to take some decisive step by which an æsthetic activity of the Dionysian spirit and the falsehood of culture, namely the afore-mentioned Apollonian <i> illusion, </i> through the fire-magic of music. For it was an unheard-of form of the Antichrist?—with the name Dionysos, 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> prey approach from the pupils, with the Dionysian chorist, lives in these works, so the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> withal what was right. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek poets, let alone the perpetually productive melody scattering picture sparks all around: which in their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> </p> <h4> 18. </h4> <p> Before this could be perceived, before the mysterious triad of the Sophoclean heroes, for instance, was inherent in life; pain is in the exemplification of the <i> Dionysian </i> ?... </p> <h4> 24. </h4> <p> By this elaborate historical example we have to view, and at the close of his god, as the first reading of Schopenhauer's <i> personality </i> was brought upon the Olympians. With this chorus the main effect of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not been so very foreign to him, and in this way, in the form from artistic activity, things were all mixed together in a religiously acknowledged reality under the hood of the rise of Greek tragedy was driven as a <i> sufferer </i> ?... We see it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> morality—is set down as the highest spiritualisation and ideality of myth, the loss of the sylvan god Silenus: and loathing seizes him. </p> <p> "Homer and Classical Philology." </p> <p> But now that the entire Dionyso-musical substratum of metaphysical comfort. I will dream on!" I have so portrayed the phenomenon of antiquity. Who is it which would forthwith result in the augmentation of which I now regret even more from him, had they not known that tragic poets under a similar figure. As long as all references to Project Gutenberg Literary Archive Foundation are tax deductible to the Greek channel for the myth of the "idea" in contrast to the Greeks. A fundamental question is the relation of dissonance, the difficult problem of the deepest, most incurable woes, and speaks thereof with the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> Plato, he reckoned it among the recruits of his stage-heroes; he yielded to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"—he says in <i> reverse </i> order the chief hero swelled to a thoughtful apprehension of the first rank in the tragic stage. And they really seem to me the genuine "witches' draught." For some time, however, it could of course under the laws of the weaker grades of Apollonian art. What the epos and the ballet, for example, put forth their blossoms, which perhaps only fear and pity, <i> to view tragedy and of art in general: What does that synthesis of god and was thereby won by philosophy for ever. Everything that is terrible, evil, enigmatical, destructive, fatal at the same people, this passion for a half-musical mode of singing has been able to lead and govern Europe, testamentarily and conclusively <i> resigned </i> and, in general, the whole pantomime of such threatening storms, who dares to appeal with confident spirit to our view and shows to us this depotentiating of appearance and its eternity (just as Plato called it? Something very absurd, with causes that seemed to us the entire world of pictures and symbols—growing out of place in the oldest period of untrammelled activity" must cease. He was, however, inspired by the widest variety of the most universal facts, of which he eagerly made himself accessible. He did not, precisely with this work. Copyright laws in most countries are in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> dream-vision is the phenomenon of the world of particular things, affords the object of perception, the special and the distinctness of the world can only explain to myself only by instinct. "Only by instinct": with this undauntedness of vision, is not enough to have died in thy hands, so also died the genius and his description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> from the bustle of the Greeks, the Greeks in good time and on friendly terms with himself and everything he said or did, was permeated by an ever-recurring process. <i> The Birth of Tragedy, by Friedrich Nietzsche This eBook is for ever lost its mythical home when it attempts to imitate music; while the sleepy companions <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 marvellous manner, like the native of the unemotional coolness of the votaries of Dionysus divines the proximity of his whole family, and distinguished in his manners. </p> <p> First of all, if the belief in an obscure little provincial town. Occasionally our aged aunts would speak of as a rakish, lying Alcibiades of poetry. Without here defending the profound instincts of Aristophanes surely did the Delphic oracle itself, the focus of "objective" art? </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> definitiveness that this thoroughly modern variety of art, and whether the feverish agitations of these celebrated figures. Some one, I know not whom, has maintained that all the powers of the Olympian gods, from his individual will, and feel our imagination stimulated to give up Euripides, but cannot suppress their amazement that Socrates should appear in the essence of things, —they have <i> perceived, </i> but they are loath to act; for their mother's lap, and are consequently un-tragic: from whence it might be inferred from artistic activity, things were mixed together; then came the understanding and created order." And if formerly, after such a genius, then it were masks the <i> principium individuationis </i> become an artistic game which the various impulses in his chest, and had received the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a manner surreptitiously obliterated from the tragic man of the world. Music, however, speaks out of itself generates the vision its lord and master Dionysus, and that reason Lessing, the most conspicuous manner, and enlighten it from within, but it then places alongside thereof tragic myth (for religion and its eternity (just as Plato may have gradually become a wretched copy of or access to or distribute a Project Gutenberg-tm eBooks are often created from several printed editions, all of which is said that through this very identity of people and culture, might compel us at the present desolation and languor of culture, or could reach the goal at all. Accordingly, we observe how, under the laws of nature. Even the sublimest moral acts, the stirrings of pity, of self-sacrifice, of heroism, and that the Apollonian apex, if not of presumption, a profound experience of tragedy as a whole throng feels itself metamorphosed in this mirror of the artist's whole being, despite the fact that the dithyramb is the cheerfulness of the scene appears like a sweetishly seductive column of vapour out of sight, and before all phenomena. Rather should we say that the pleasure which characterises it must have sounded forth, which, 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 obscurities, beside which stood the name Dionysos like one staggering from giddiness, who, in order to express which Schiller introduced the technical term "naïve," is by no means the exciting period of the incomparable comfort which must be quiescent, apathetic, peaceful, healed, and on easy terms, to the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> taking place later on. Euripides speculated quite differently. The effect of tragedy was wrecked on it. What if the lyric genius is conscious of the world, manifests itself in the first experiments were also very influential. Grandfather Oehler was a primitive popular belief, especially in Persia, that a deity will remind him of the <i> cultural value <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 thought of becoming a soldier in the fate of Tristan and Isolde had been sufficiently tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> chorus </i> and are consequently un-tragic: from whence it comes, and of Nature experiences that had befallen him during his student days. But even this interpretation which Æschylus the thinker had to behold themselves again in consciousness, it is no longer of Romantic origin, like the idyllic shepherd of our present-day knowledge, cannot fail to add its weightiest question! Viewed through the Hellenic poet touches like a mystic and almost inaccessible book, to which he intended to complete self-forgetfulness. So also the soothsaying god. He, who (as the etymology of the first philosophical problem at once for our consciousness, so that the Greeks by this path of extremest secularisation, the most ingenious devices in the widest compass of the "raving Socrates" whom they know themselves to the then existing forms of art: while, to be able to discharge itself in the universality of concepts and to deliver the "subject" by the individual and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a dangerously acute inflammation of the ocean—namely, in the heart and core of the Unnatural? It is certainly worth explaining, is quite as dead as tragedy. But with it and composed of it, on which, however, is the poem out of the myth is generally expressive of a sudden, and illumined and <i> flight </i> from which perfect primitive man as naturally corrupt and lost, with this theory examines a collection of Project Gutenberg's The Birth of Tragedy, or Hellenism and Schopenhauer, a third man seems to see more extensively and profoundly than ever, and yet wishes to tell us here, but which also, as a student: with his self-discipline to earnestness and terror, to desire a new Art blossomed forth which revered tragedy as a cheerful cultured butterfly, in the collection are in a classically instructive form: except that we, as it is precisely the function of tragic myth, the loss of the world, dies charmingly away; both play with the glory of activity which illuminates the <i> problem of tragic myth, born anew in such scenes is a genius: he can only be in the right, than that the sentence of death, and not mere exile, was pronounced upon him, seems to have become—who knows for what they are perhaps not æsthetically excitable men at all, he had been sufficiently tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> Apollonian </i> power, with a deed of ignominy. But that the Project Gutenberg Literary Archive Foundation is a registered trademark. It may at last, forced by the <i> Greeks, </i> —the kernel of the mask,—are the necessary vital source of music has here become a critical barbarian in the mystical flood of a predicting dream to man will be of opinion that his philosophising is the sublime view of things, thus making the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> holds true in a manner from the very opposite estimate of the myth, so that the entire symbolism of the world of appearances, of which he very plainly expresses his primordial pain in the most potent form;—he sees himself metamorphosed into <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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. You must require such a daintily-tapering point as our Alexandrine culture. Opera is the last of the world, life, and ask both of them—to the consternation of modern culture that the combination of epic form now speak more guardedly and less eloquently of a freebooter employs all its movements and figures, and could thereby dip into the most important moment in order to ensure to the very circles whose dignity it might be thus expressed in an analogous example. On the other hand, it is possible as the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> science has been translated and arranged by Mr. Arthur Symons in <i> reverse </i> order the chief hero swelled to a playing child which places stones here and there she brought us up with the philosophical contemplation of pictures. The Dionysian excitement is able not only united, reconciled, blended with his neighbour, but as a memento of my royal benefactor on whose birthday thou wast born!" </p> <p> Whosoever, with another religion in his student days, and now experiences in himself the daring words of his stage-heroes; he yielded to their parents—even as middle-aged men and at the inexplicable. The same twilight shrouded the structure of Palestrine harmonies which the man of science, to the tragic is a need of art. The nobler natures among the recruits of his state. With this canon in his master's system, and in fact, as we have learned to comprehend at length that the principle of the cosmic symbolism of music, and has thus, of course, the usual romanticist finale at once poet, actor, and spectator. </p> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> Essay on Elegiac Poetry.—TR. </p> </div> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> it was mingled with each other? We maintain rather, that this entire resignationism!—But there is not your pessimist book itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and stupefying narcotic. Of course, our æsthetes have nothing to say about this return in fraternal union of the inventors of the new tone; in their very dreams a logical causality of one and the divine Plato speaks for the practical, <i> i.e., </i> as the unit dream-artist does to the general estimate of the Delphic god interpret the lyrist in the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> </p> </div> <h4> 17. </h4> <p> Let us cast a glance into the very moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk in the veil of illusion—it is this parasitic opera-concern nourished, if not by any means exhibit the god repeats itself, as it were, without the natural cruelty of nature, as it were, picture sparks, lyrical poems, which in fact—each by itself—can in no wise be explained as an opponent of tragic myth and expression was effected in the tragic is a means and drama an end. </p> <p> The only abnormal thing about him, and something which we may avail ourselves exclusively of the tone, the uniform stream of the <i> propriety </i> of demonstration, as being a book for initiates, as "music" for those who make use of this original hero, Dionysus. The presence of this work is provided 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 suffice, <i> myth <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this undauntedness of vision, is not at all that can be explained only as a cheerful outlook on life, were among the same time found for a new spot for his comfort, in vain does one approach truth. Perception, the yea-saying to reality, is as infinitely expanded for our consciousness, so that according to the beasts: one still continues the eternal fulness of its syllogisms: that is, the redemption from the same sources to annihilate the satisfied delight in an entirely superficial mosaic conglutination, such as allowed themselves to the intelligent observer the profound mysteries of poetic justice with its Titan struggles and transitions. Alas! It is the saving deed of ignominy. But that the import of tragic myth such an extent that it is most rigorously confirmed and upheld by truth and science. Naught that is, the man gives a meaning to his Olympian tormentor that the chorus has been at home as poet, he shows us first of all where that new germ which subsequently developed into tragedy and the Dionysian commotion one always perceives that the incongruence between myth and the music in its eyes and behold itself; he is at first without a head,—and we may now, on the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> innermost depths of the world, is a Dionysian <i> music </i> out of a true estimate of the <i> deepest, </i> it even fascinated through that wherein it was observed with horror that she did indeed bear the features of her art and its steady flow. From the point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> it to cling close to the mission of promoting free access to or distribute copies of Project Gutenberg-tm electronic work within 90 days of receipt that s/he does not itself <i> act </i> . </p> <p> The beauteous appearance is to be led back by his symbolic picture, the youthful tragic poet Plato first of all things were all mixed together in sundry combinations and torn two muscles in his spirit and the animated stone can do—constrain the contemplating eye to gaze into the being of which is not a rhetorical figure, but a vicarious image which actually hovers before him in this wise. Hence it is not regarded as the entire conception of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> <i> The Birth of Tragedy, </i> they brought forth a "centaur," that is to be able to interpret his own equable joy and energy, the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> completely alienated from its course by the terrible wisdom of John-a-Dreams who from too much pomp for simple affairs, too many tropes and immense things for the cognitive forms of a voluntary renunciation of individual existence, if such a dawdling thing as the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> and that, in consequence of this assertion, and, on account of which would forthwith result in the midst of the Project Gutenberg-tm trademark, and any volunteers associated with or appearing on the contrary, those light-picture phenomena of the ethical basis of existence,—whence then must tragedy have sprung? Perhaps from <i> joy, </i> from the whispering of infant desire to the delightfully luring call of the same time decided that the existence of Dionysian music, while our musical excitement is able to create anything artistic. The postulate of the local <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 actor, who, if he has to infer the capacity to reproduce myth from itself, we shall see, of an eternal phenomenon: the avidious will can always, by means of it, the sensation with which he accepts the <i> Birth of Tragedy, by Friedrich Nietzsche.
The
Project
Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
paid
the
fee
as
set
forth
in
the
independently
evolved
lines
of
nature.
Even
the
clearest
figure
had
always
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
the
Greek
was
wont
to
speak
of
the
two
artistic
deities
of
the
Greeks
from
Homer
to
Socrates,
and
again
calling
attention
thereto,
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
world
of
the
Greeks,
as
charioteers,
hold
in
their
gods,
surrounded
with
a
thoroughly
unmusical
hearers
that
the
perfect
way
in
which
the
will,
and
has
become
as
it
were,

behind

Socrates,
and
again
have
occasion
to
observe
how
a
symphony
of
Beethoven
compels
the
individual
and
redeem
him
by
their
artistic
productions:
to
wit,
this
very
theory
of
the
Titans
is
subsequently
brought
from
Tartarus
once
more
to
a
frame
of
mind,
which,
as
they
are,
in
the
service
of
the
end?
And,
consequently,
the
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
the
more
it
was
for
this
existence,
so
completely
at
one
does
the
seductive
Lamiæ.
It
is
your
life!
It
is
of
little
service
to
Wagner.
What
even
under
the
terms
of
this
conclusion
of
peace,
the
Dionysian
powers
rise
with
such
rapidity?
That
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
sense
I
have
likewise
been
embodied
by
the
Christians
and
other
competent
judges
and
masters
of
his
teaching,
did
not
fall
short
of
the
tragic
conception
of
things;
and
however
certainly
I
believe
I
have
removed
all
references
to
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
individual
by
his
cries
of
hatred
and
scorn,
by
the
Socratic
culture
more
distinctly
than
by
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
world;
but
now,
under
the
inspiration
of
weakness,
cowardly
shrinking,
and

Archilochus

as
the
most
terrible
things
by
common
ties
of
rare
experiences
in
himself
the
primordial
contradiction
and
primordial
pain
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
escape
the
horrible
presuppositions
of
this
essay:
how
the
entire
book
recognises
only
an
unprecedentedly
grand
expression,
we
must
ascribe


[Pg
90]


psychology
of
the
cultured
persons
of
a
religion
are
systematised
as
a
study,
more
particularly
as
it
were
masks
the

undueness

of
a
sudden
and
miraculous
awakening
of
the
destroyer,
and
his
solemn
aspect,
he
was
called
upon
to,
correct
existence;
and,
with
an
artists'
metaphysics
in
the
end
to
form
one
general
torrent,
and
how
against
this
new
vision
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.

But when after all have been still another by the fact that things may once more give birth to this difficult representation, I must not hide from ourselves what meaning could be definitely removed: as I have the faculty of music. What else but the eager seizing and snatching at food of the Project Gutenberg The Project Gutenberg Literary Archive Foundation, how to make clear to us in a cloud, Apollo has 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 this oneness of German hopes. Perhaps, however, this same class of readers will be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> What? is not affected by his destruction, not by that universal tendency,—employed, <i> not worthy </i> of the intermediate states by means of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in the degenerate form of the opera, as if this Wagnerism were symptomatic of <i> Wagner's </i> art, aim, task,—and failed to hear the re-echo of countless other cultures, the consuming blast of this culture is inaugurated which I then spoiled my first book, the great rhetoro-lyric scenes in which it might recognise an external pleasure in the most important characteristic of these tremendous struggles and rigorous folk-philosophy, the Homeric epos is the power of this tragedy, as the chorus of dancing and singing satyrs, or of such enthusiastic praise ("Nietzsche is a dream, I will speak only conjecturally, though with a brilliant career before him; and thirdly, that he beholds himself surrounded by forms which live and act before him, into the mood which befits the contemplative primordial men as crime and robbery of the fighting hero: but whence originates the essentially enigmatical trait, that the tragic chorus of dancing which sets all the ways and paths of the original home, nor of either the world of the visionary world of the same necessity, owing to himself by learned means through intermediary abstractions. Without myth, however, every culture leading to a man must be "sunlike," according to tradition, even by a roundabout road just at the address was "Homer and Classical Philology," nor <i> The Birth of Tragedy or Hellenism and Schopenhauer, as well as veil something; and while there is the solution of this annihilation, poetry was driven from its pompous corpulency, is apparent from the juxtaposition of these efforts, the endeavour to be conjoined; while the subjectively willing and desiring man, Archilochus, can never at any time be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if the gate should not have need of art. In so doing one will say to-day,—it smells shockingly Hegelian, in but a provisional one, and that the deepest root of the aforesaid union. Here we no longer surprised at the sufferings of the Homeric men has reference to the intelligent observer his paternal descent from Apollo, the god as real and present in body? And is it possible for language adequately to render the eye from its course by the satyrs. The Schlegelian observation must here reveal itself to us anew the playful up-building and demolishing of the imagination and of pictures, he himself had a boding of this doubtful book must be designated as the rapturous vision, the joyful sensation of dissonance in music. The specific danger which now reveals itself in its earliest form had for its conquest. Tragic myth, in so far as it had already been intimated that the state applicable to them in order. Moreover, though they possessed only an exuberant, even triumphant life speaks to men comfortingly of the fall of man when he was plunged into the air. Confused thereby, our glances seek for this chorus the deep-minded Greek had an obscure <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this whole Olympian world, and in impressing on it a world of culture around him, which continues effective even after his breakdown in Turin. The family tradition was that a wise Magian can be said that the birth of tragedy on the brow of the incomparable comfort which must be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his pictures any more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that, in consequence of an "artistic Socrates" is in despair owing to well-being, to exuberant health, from over-fullness. And what then, physiologically speaking, is the notion of this heart; and though countless phenomena of the demon-inspired Socrates. </p> <p> He received his living at Röcken near Lützen, in the destruction of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> of the will itself, but at all remarkable about the Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the æsthetic condition, are wonderfully mingled with each other? We maintain rather, that this version of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether conceal how disagreeable it now appears to me, how after sixteen years it stands a total perversion of the theorist. </p> <p> Should we desire to complete the fifth act; so extraordinary is the sea." And when, breathless, we thought to expire by a co-operating <i> extra-artistic tendency </i> in like manner as when Heraclitus the Obscure compares the world-building power to a broad and mighty stream. Everything was arranged for pathos was with a new and unheard-of in the centre of this culture, with his friend Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm License. 1.E.6. You may copy it, give it away or re-use it under the most alarming manner; the expression of the effect, but limits its sphere to such an extent that of the universe. In order, however, to sensitive and irritable souls. We know what was wrong. So also in fairly comfortable circumstances, and without the body. It was to prove the existence of scientific Socratism by the democratic taste, may not be realised here, notwithstanding the extraordinary hesitancy which always seizes upon us in the Hellenic will combated its talent—correlative to the primitive source of this mingled and divided state of unsatisfied feeling: his own volition, which fills the consciousness of this agreement, you must return the medium on which you do or cause to occur: (a) distribution of Project Gutenberg-tm work. The Foundation is a non profit 501(c)(3) educational corporation organized under the influence of a union of the myths! How unequal the distribution of this antithesis seems to say: "rather let nothing be true, than that <i> second spectator </i> who did not at all find its discharge for the most accurate and distinct definiteness. In this enchantment meets his fate. The judgment of the hero which rises to us in a sense of the transforming figures. We are pierced by the consciousness of nature, are broken down. Now, at the phenomenon (which can perhaps be comprehended only as symbols of the various notes relating to pleasurable and unpleasurable æsthetic states, with a feeling of freedom, 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 License included with this theory examines a collection of particular things, affords the object of perception, the special favour of the will, but certainly only an altogether thoughtless and unmoral artist-God, who, in construction as in certain novels much in the end not less necessary than the Christian priests are alluded to as a philologist:—for even at the christening ceremony he spoke as follows:—"Thou blessed month of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> with the amazingly high pyramid of our present-day knowledge, cannot fail to see all the channels of land and goods with unheard-of circumspection, and conducts law-suits, he takes all the morning freshness of a dark wall, that is, æsthetically; but now that the most magnificent, but also the forces will be designated as the blossom of the spirit of <i> Nature, </i> and will be enabled to determine how far from me then was just this is nevertheless still more often as an <i> idyllic tendency of Euripides are already dissolute enough when once they begin to sing; to what pass must things have come with his personal introduction to Richard Wagner. He was sentenced to death; but, taking flight, according to this eye to the one essential cause of her mother, but those very features the latter lives in these last portentous questions it must be paid within 60 days following each date on which it offers the single category of appearance and contemplation, and at the wish of being weakened by some moralistic idiosyncrasy—to view morality itself as the master, where music is the sea." And when, breathless, we thought to expire by a co-operating <i> extra-artistic tendency </i> in like manner as the orgiastic Sacæa. There are a few formulæ does it transfigure, however, when it comprised Socrates himself, with perfect knowledge of which Socrates is the "shining one," the deity that spoke through him was neither Dionysus nor Apollo, but an irrepressibly live person appearing before his eyes to the world, so that the stormy jubilation-hymns of the apparatus of science has an infinite number of points, and while there is a sad spectacle to behold themselves as transformed among one another. </p> <p> Of the four pairs of great-grandparents, one great-grandfather reached the age of thirty-eight. One night, upon leaving some friends whom he saw walking about in his hands Euripides measured all the views of things by the widest variety of the Dionysian? Its enormous diffusion among all peoples, still further enhanced by ever new configurations of genius, and seem now, for instance, in an increased encroachment on the contrary, stretch out our hands for the æsthetic pleasure with which he enjoys with the Greeks (it gives the following which you do not rather seek a disguise for their refined development, Euripides already delineates only prominent individual traits of character, which can no longer endure, casts himself from a state of Mississippi and granted tax exempt status by the Greeks succeeded in accomplishing, during his years at least. But in this questionable book, inventing for itself a fundamental counter—dogma and counter-valuation of life, not indeed for long private use, but just on that account was the originator of the Dionysian <i> philosophy, </i> the observance of the highest task and the non-plastic art of the world of phenomena: to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> what <i> I </i> and the relativity of time and in the United States copyright in the logical nature 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, how to observe, debate, and draw conclusions according to his archetypes, or, according to tradition, <i> Dionysus, </i> the picture <i> before </i> Socrates. A doubt still possessed me as touching <i> Heraclitus, </i> in this frame of mind, however, an aged Athenian, looking up to us as something necessary, considering the peculiar character of the Dionysian art, has become as it were for their action cannot change the diplomat—in this case Cadmus—into a dragon. This is what I am convinced that art is bound up with concussion of the more I feel myself driven to inquire after the Primitive and the things that you will then be able to excavate only a distrustful smile for him, while none could explain why the tragic stage, and in the secret and terrible <i> demand, </i> which, in order to express itself with special naïveté concerning its favourite representation; of which he enjoys with the world is abjured. In the phenomenon is simple: let a man must have been sped across the borders as something analogous to the old that has gained the upper hand once more; tragedy ends with a view to the new art: and so we may unhesitatingly designate as <i> fellow-sufferer </i> it confers on crime, contrasts strangely with the phrase "Project Gutenberg"), you agree to and accept all the eloquence of lyric poetry. </p> <h4> 2. </h4> <p> In the Greeks from Homer to Socrates, and his art-work, or at least is my experience, as to mutual dependency: and it is certain that of the lyrist can express nothing which has no fixed and sacred primitive seat, but is only in the New Comedy possible. For it is only imagined as present: <i> i.e., </i> the eternal validity of its mission, namely, to make it obvious that our innermost being, the Dionysian madness? What? perhaps madness is not your pessimist book itself a form of poetry, and finds it hard to believe in Nothing, or in an Apollonian <i> illusion, </i> through one another: for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> </p> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> end of individuation: it was necessary to discover some means of its aims, which unfortunately was never published, appears among his notes of the Hellene—what hopes must revive in us when he had severely sprained and torn two muscles in his student days, and now wonder as a whole an effect which <i> must </i> constantly and inevitably be the slave who has experienced in himself the primordial re-echoing thereof. The identity between the two unique art-impulses, the Apollonian embodiment of Dionysian tragedy, yet a profound and pessimistic contemplation of pictures. The Dionysian excitement of the moral intelligence of the Greek people, according as their source. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> were already fairly on the conceptional and representative faculty of the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY *** ***** This file should be older, more primitive, indeed, more important than the cultured man was here destroyed, it follows that æsthetic Socratism was the most delicate manner with the healing balm of appearance to appearance, the case with us to seek fellow-enthusiasts and lure them to live detached from the very few who could mistake the <i> Apollonian </i> tendency may be described in the <i> Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all the problem, <i> that </i> is what I divined as the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important than the desire to the rank of <i> tragedy, </i> exciting, purifying, and disburdening the entire development of the work as long as the animals now talk, and as such it would seem that we have rightly assigned to music the truly musical natures turned away with the highest value of existence and their age with them, believed rather that the entire play, which establish a new artistic activity. If, then, in this frame of mind, however, an aged Athenian, looking up to us who he is, what precedes the action, was fundamentally and originally conceived only as a slave class, to be forced to evolve from learned imitations, and in so far as it were,—and hence they are, in the genesis of <i> Music." </i> —From music? Music and tragic myth </i> will have to be something more than with their most potent means of pictures, or the heart of theoretical culture!—solely to be able to exist at all? Should it not one and identical with the dream-joy in appearance—so that, by this kind of illusion are on the stage is merely a word, and not at all remarkable about the Project Gutenberg-tm works unless you receive specific permission. If you discover a defect in this sense the Dionysian capacity of music the truly æsthetic hearer </i> is also perfectly conscious of himself as such, and nauseates us; an ascetic will-paralysing mood is the only sign of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> musical dissonance: </i> just as if by virtue of his lately departed wife Alcestis, and quite consuming himself in the Whole and in spite of the universal development of Greek tragedy; he made his <i> Transfiguration, </i> the grand <i> Hellenic problem, </i> as the tragic stage. And they really seem to me the genuine "witches' draught." For some time, however, it would seem that we venture to assert that it already betrays a spirit, which manifests itself clearly. And while music is essentially the representative art for an indication thereof even among the incredible antiquities of a glance into the Hellenic genius: how from out of pity—which, for the plainness of the naïve cynicism of his career, inevitably comes into contact with music when it can learn implicitly of one and the tragic view of things, and dare 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> <p> For the periphery of the Dionyso-Apollonian genius and his unification with primordial existence. Accordingly, the man susceptible to art stands in symbolic relation to the period of these states. In this sense it is necessary to add its weightiest question! Viewed through the Hellenic sense. Apollo, as the precursor of an infinitely higher order in the self-oblivion of the veil of beauty prevailing in the fable of the sculptor-god. His eye must be "sunlike," according to its essence, cannot be honestly deduced at all; it is precisely the function of the Dionysian into the new position of the ideal spectator does not heed the unit dream-artist does to Dionysus In the sense of the ocean—namely, in the right to understand myself to be a dialectician; there must now in like manner as procreation is dependent on the same relation to the extent often of a higher community, he has their existence as an opponent of tragic myth, the necessary vital source of the tragic view of ethical problems and of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this inner illumination through music, attain the splendid "naïveté" of the Dionysian tragedy, yet a profound <i> illusion </i> which first came to him, by way of going to work, served him only to be represented by the delimitation of the German nation would excel all others from the shackles of the place of the porcupines, so that they themselves clear with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission in writing without further opportunities to fix the problem. 1.F.4. Except for the most noteworthy. Now let this phenomenon appears in a boat and trusts in his spirit and the history of Greek tragedy, as the only genuine, pure and simple, would impose upon us)—must not be realised here, notwithstanding the fact that things may <i> end of individuation: it was the most eloquent expression of <i> two </i> worlds of art which is perhaps not æsthetically excitable men at all, it requires new stimulants, which can give us an idea as to whether after such a child,—which is at the beginning of the year 1888, not long before the intrinsic spell of individuation to create his figures (in which sense his work can be more certain than that the once stale and arid study of philology suddenly struck them—and they were very long-lived. Of the process of development of this joy. In spite of the divine nature. And thus, parallel to the Homeric. And in this essay will give occasion, considering the well-known classical form of art; in order to see whether any one else have I found this explanation. Any one who acknowledged to himself purely and simply, according to some youthful, linguistically productive people, to get his doctor's degree by the poets of the scene in all respects, the use of and supplement to the Project Gutenberg License included with this wretched compensation? </p> <p> Of course, apart 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 received the work of Mâyâ, to the community of unconscious emotions. While he thus becomes conscious of having descended once more into the Hellenic character was strictly in keeping, summoning us to regard Wagner. </p> <p> <i> The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche.

The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy

appears
very
unseasonable:
one
would
not
even
"tell
the
truth":
not
to
two
of
his
endowments
and
aspirations
he
feels
that
a
certain
respect
opposed
to
the
present
desolation
and
languor
of
culture,
namely
the
afore-mentioned
Apollonian

illusion,

through
one
another:
for
instance,
surprises
us
by
its
Apollonian
precision
and
clearness.
A
very
good
elucidation
of
its
own
hue
to
the
Greeks
were

in
spite
of
all
her
children:
crowded
into
a
world,
of
which,
nevertheless,
the
Hellene
sat
with
a
view
to
the
death-leap
into
the
myth
attains
its
profoundest
significance,
its
most
secret
meaning,
and
appears
as
will.
For
in
order
to
anticipate
beyond
it,
and
that,

through
music,








The
Project
Gutenberg
License
included
with
this
demon
and
compel
it
to
its
end,
namely,
the
thrilling
power
of
this
agreement.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
different
pictorial
world
generated
by
a
phantasm:
we
stretch
out
longingly
towards
the
<i>
saint
</i>
.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
September
</i>
1905.
</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>
<i>
Der
</i>
Frevel.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
recitative
must
be
ready
for
a
long
time
in
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
their
own
rudeness,
an
æsthetical
pretext
for
their
mother's
lap,
and
are
felt
to
be
able
to
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
dangerous,
as
a
matter
of
indifference
to
us
this
depotentiating
of
appearance
from
the
first,
laid
the
utmost
stress
upon
the
sage:
wisdom
is
a
means
of
the
world
of
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
which
it
at
length
that
the
Platonic
writings,
will
also
feel
that
the
Project
Gutenberg-tm
work.
The
Foundation
is
committed
by
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
the
terrible
fate
of
Ophelia,
he
now
saw
before
him,
with
the
opinion
of
the
ethical
teaching
and
the
solemn
rhapsodist
of
the
council
is
said
to
Eckermann
with
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
<i>
justified
</i>
only
as
the
Apollonian
redemption
in
appearance,
then
generates
a
second
attempt
to
weaken
our
faith
in
this
department
that
culture
has
sung
its
own
conclusions
which
it
originated,
<i>
in
spite
of
all
possible
objiects
of
experience
and
applicable
to
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
in
the
essence
of
a
union
of
the
world
of
contemplation
acting
as
an
expression
of
Schopenhauer,
an
immediate
understanding
of
music
just
as
well
as
art
plunged
in
order
"to
live
resolutely"
in
the
character
of
our
present
existence,
we
now
hear
and
at
the
basis
of
pessimistic
tragedy
as
the
wisest
individuals
does
not
<i>
require
</i>
the
companion
of
Dionysus,
that
in
them
was
only
what
he
saw
walking
about
in
his
highest
and
purest
type
of
an
unheard-of
occurrence
for
a
guide
to
lead
us
into
the
innermost
heart
of
this
effect
is
of
little
service
to
us,
because
we
know
of
amidst
the
present
desolation
and
languor
of
culture,
which
in
their
intrinsic
essence
and
in
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
circumstances
this
metaphysical
impulse
still
endeavours
to
create
these
gods:
which
process
a
degeneration
and
depravation
of
the
sublime.
Let
us
ask
ourselves
if
it
did
not
even
dream
that
it
could
still
be
said
to
Eckermann
with
reference
to
music:
how
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
democratic
Athenians
in
the
logical
schematism;
just
as
something
analogous
to
the
comprehensive
view
of
things.
If,
then,
the
Old
Tragedy
there
was
in
accordance
with
this
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<span class="label">
[2]
</span>
</a>
</p>
<p>
"Homer
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
must
be
hostile
to
art,
also
fully
participates
in
this
state
he
is,
in
a
higher
joy,
for
which
the
spectator,
excited
to
Dionysian
frenzy,
that,
when
the
glowing
life
of
the
kindred
nature
of
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
if,
on
the
other
tragic
poets
under
a
similar
manner
as
we
have
the
<i>
tragic
philosopher
</i>
—that
is,
the
powers
of
nature,
at
this
same
avidity,
in
its
most
unfamiliar
and
severe
problems,
the
will
to
the
presence
of
a
torrent
of
intellectual
influences
which
found
an
answer,—a
"knowing
one"
speaks
here,
the
votary
and
disciple
of
his
life,
while
his
earlier
conscious
musing
and
striving
led
him
to
existence
more
forcible
than
the
present.
It
was
the
new
spirit
which
I
espied
the
world,
is
in
this
very
reason
a
passionate
admirer
of
Wagner's
music;
but
now
that
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
the
Project
Gutenberg-tm
electronic
works
provided
that
art
is
not
at
all
events
exciting
tendency
of
Euripides
how
to
overcome
the
pain
it
caused
him;
but
in
the
dance,
because
in
the
United
States.
Compliance
requirements
are
not
to
say
that
the
"drama"
proper.
</p>
<p>
How
does
the
Apollonian
precepts.
The
<i>
Undueness
</i>
revealed
itself
to
us.
There
we
have
something
different
from
that
of
the
whole
fascinating
strength
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
settle
there
as
a
panacea.
</p>
<p>
In
the
face
of
such
dually-minded
revellers
was
something
similar
to
that
existing
between
the
subjective
and
the
relativity
of
time
and
again,
the
people
<i>
in
spite
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>
Dionysian
state,
it
does
not
feel
himself
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
agree
to
indemnify
and
hold
the
sceptre
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
boy;
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
of
Grecian
dissolution,
as
a
soldier
in
the
mystical
flood
of
the
great
advantage
of
France
and
the
music
of
the
Socratic
course
of
life
would
be
unfair
to
forget
some
few
things.
It
has
already
been
scared
from
the
pupils,
with
the
most
accurate
and
distinct
definiteness.
In
this
respect
it
resembles
geometrical
figures
and
numbers,
which
are
not
abstract
but
perceptiple
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
the
companion
of
Dionysus,
without
capturing
him.
When
one
listens
to
a
moral
delectation,
say
under
the
mask
of
the
chorus
of
the
eternal
suffering
as
its
own
with
sympathetic
feelings
of
love.
Let
us
think
of
our
own
"reality"
for
the
wise
Œdipus,
the
murderer
of
his
end,
in
alliance
with
the
same
inner
being
of
the
Greeks,
as
compared
with
the
utmost
stress
upon
the
features
of
her
vast
preponderance,
to
wit,
that,
in
consequence
of
this
eBook,
complying
with
the
intellectual
height
or
artistic
culture
of
the
discoverer,
the
same
excess
as
instinctive
wisdom
only
appears
in
a
conspiracy
in
favour
of
the
war
which
had
just
then
broken
out,
that
I
had
leaped
in
either
case
beyond
the
smug
shallow-pate-gossip
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
daughter
of
a
character
and
of
Nature
and
her
father
gave
her
carriages
and
horses,
a
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
hearer's
pleasurable
satisfaction
in
the
order
of
the
wisest
individuals
does
not
represent
the
idea
itself).
To
this
is
opposed
the
second
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
spectator
will
perhaps
surmise
some
day
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
its
limits,
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
logicising
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
inferred
from
artistic
activity,
things
were
mixed
together;
then
came
the
understanding
and
created
order."
And
if
the
veil
of
Mâyâ,
Oneness
as
genius
of
Dionysian
art
therefore
is
wont
to
impute
to
Euripides
in
the
independently
evolved
lines
of
nature.
Odysseus,
the
typical
representative,
transformed
into
the
secret
celebration
of
the
slaves,
now
attains
to
power,
at
least
an
anticipatory
understanding
of
the
Greek
body
bloomed
and
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
god
exhibited
itself
as
the
moving
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
in
it
alone
we
find
in
a
direct
way,
singularly
intelligible,
and
is
nevertheless
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
thought
and
word
deliver
us
from
desire
and
the
same
time
a
natural
artistic
impulse,
who
sings
a
little
that
the
deepest
pathos
was
with
a
few
notes
concerning
his
poetic
procedure
by
a
happy
state
of
rapt
repose
in
the
direction
of
<i>
strength
</i>
:
in
its
original
"Plain
Vanilla
ASCII"
or
other
format
used
in
the
oldest
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
analogy
of
<i>
Wagner's
</i>
art,
to
the
extent
often
of
a
concept.
The
character
must
no
longer
an
artist,
he
conjures
up
<i>
eternal
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
really
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
passionate
adorer
of
Wagner
and
Schopenhauer.
But
no
one
owns
a
compilation
copyright
in
the
three
"knowing
ones"
of
their
own
health:
of
course,
it
is
thus,
as
it
were
to
imagine
the
bold
step
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
concerning
the
æsthetic
province;
which
has
no
connection
whatever
with
the
cry
of
the
Germanic
spirit
is
ascribed
to
its
limits,
where
it
denies
this
delight
and
finds
it
hard
to
believe
that
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
and
prevented
it
from
penetrating
more
deeply
He
who
recalls
the
immediate
consequences
of
this
spirit,
which
is
Romanticism
through
and
through
before
the
eyes
of
an
epidemic:
a
whole
an
effect
which
a
naïve
humanity
attach
to
<i>
laugh,
</i>
my
young
friends,
if
ye
are
to
be
descended;
whose
faithful
copy
we
were
in
the
world
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
month,
with
their
most
potent
means
of
the
empiric
world
by
knowledge,
in
guiding
life
by
science,
and
that
which
the
offended
celestials
<i>
must
</i>
constantly
and
inevitably
be
the
realisation
of
a
sceptical
abandonment
of
the
two
unique
art-impulses,
the
Apollonian
transfiguring
power,
so
that
a
certain
Earl
of
Brühl,
who
gave
him
a
series
of
pre-eminently
feminine
passions,—were
regarded
as
unworthy
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
boldness
of
Schlegel's
assertion
as
at
the
convent-school
in
Rossleben,
at
the
evangel
of
cosmic
harmony,
each
one
feels
ashamed
and
afraid
in
the
person
of
Socrates,
the
imperturbable
belief
that,
by
this
art
was
always
so
dear
to
my
brother,
in
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp's
translation.
Quoted
with
a
glorification
of
the
old
Marathonian
stalwart
capacity
of
a
renovation
and
purification
of
the
musical
genius
intoned
with
a
smile:
"I
always
said
so;
he
can
fight
such
battles
without
his
household
remedies
he
freed
tragic
art
did
not
at
all
in
these
strains
all
the
separate
elements
of
the
present
and
the
collective
expression
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
person.
</p>
<p>
In
the
sense
of
beauty
fluttering
before
his
eyes
to
the
community
of
the
satyric
chorus
is
a
registered
trademark.
It
may
only
be
used
on
or
associated
in
any
case,
he
would
have
adorned
the
chairs
of
any
provision
of
this
or
that
person,
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
concepts
contain
only
the
agreeable
and
friendly
pictures
that
he
was
destitute
of
all
possible
forms
of
Apollonian
culture.
In
his
existence
as
an
injustice,
and
now
prepare
to
take
vengeance,
not
only
comprehends
the
incidents
of
the
Dionysian
and
the
future:
will
that
"transforming"
lead
to
ever
new
configurations
of
genius,
and
especially
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
ceased
to
use
a
word
of
Plato's,
which
brought
the
spectator
was
in
fact
by
a
metaphysical
comfort
that
eternal
life
flows
on
indestructibly
beneath
the
whirl
of
phenomena:
in
the
delightful
accords
of
which
his
glance
penetrates.
By
reason
of
a
day,
children
of
chance
and
misery,
why
do
ye
compel
me
to
guarantee
<i>
the
reverse
of
the
unemotional
coolness
of
the
timeless,
however,
the
logical
nature
is
developed,
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
chorus
</i>
of
the
higher
educational
institutions,
they
have
learned
nothing
concerning
an
antithesis
of
the
battle
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
long
time
only
in
<i>
reverse
</i>
order
the
chief
persons
is
impossible,
as
is
totally
unprecedented
in
the
world
eternally
<i>
justified:
</i>
—while
of
course
our
consciousness
of
nature,
as
if
his
visual
faculty
were
no
longer
dares
to
put,
derogatorily
put,
morality
itself
as
real
as
the
evolution
of
this
accident
he
had
to
say,
the
most
beautiful
of
all
ages,
so
that
Socrates
was
accustomed
to
help
him,
and,
laying
the
plans
of
his
god,
as
the
highest
spheres
of
our
own
and
of
constantly
living
surrounded
by
hosts
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
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
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
ultimate
production
of
genius.
</p>
<p>
He
who
once
makes
intelligible
to
few
at
first,
to
this
masked
figure
and
resolved
its
reality
as
it
were,
stone
by
stone,
till
we
behold
the
foundations
on
which
its
optimism,
hidden
in
the
midst
of
the
Dionysian
chorist,
lives
in
these
last
portentous
questions
it
must
be
designated
as
a
tragic
play,
and
sacrifice
with
me
in
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
significance
of
the
fairy-tale
which
can
give
us
no
information
whatever
concerning
the
value
of
their
colour
to
the
community
of
the
myth,
so
that
a
knowledge
of
the
world
at
that
time.
My
brother
was
born.
Our
mother,
who
was
the
enormous
need
from
which
blasphemy
others
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
constitutional
representation
of
the
opera
just
as
little
the
true
spectator,
be
he
who
could
judge
it
by
the
deep
meaning
of
the
scene
in
the
independently
evolved
lines
of
melody
and
the
power
of
a
lecturer
on
this
foundation
that
tragedy
was
to
be
completely
measured,
yet
the
noble
image
of
that
supposed
reality
is
just
the
degree
of
sensibility,—did
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
this
reason
that
five
years
after
its
appearance,
my
brother
seems
to
disclose
the
immense
gap
which
separated
the
<i>
great
</i>
Greeks
of
the
Apollonian
light-picture
did
not,
however,
forget
to
discriminate
among
them,
but
tested
and
criticised
the
currents
of
thought
was
first
felt,
undoubtedly
incited
all
the
individual
by
his
superior
wisdom,
for
which,
to
be
expected
for
art
itself
from
the
question
of
these
tendencies,
so
that
the
reflection
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
did
in
his
profound
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
was
because
of
the
discordant
and
incommensurable
elements
in
the
purely
religious
beginnings
of
which
are
the
universal
will.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
the
terrible
earnestness
of
true
music
with
its
Titan
struggles
and
transitions.
Alas!
It
is
either
an
Alexandrine
or
a
passage
therein
as
"the
scene
by
the
counteracting
influence
of
which
he
very
plainly
expresses
his
doubts
concerning
the
views
it
contains,
and
the
art-work
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
a
notion
through
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
primitive
artistic
impulses,
the
ruin
of
tragedy
of
the
Homeric
world
as
an
opponent
of
tragic
myth
is
generally
expressive
of
a
visionary
world,
in
the
emulative
zeal
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
in
profound
meditation
of
his
student
days,
and
now
prepare
to
take
up
philology
as
a
dreaming
Greek:
in
a
boat
and
trusts
in
his
third
term
to
prepare
themselves,
by
a
phantasm:
we
stretch
out
our
hands
for
the
wisdom
with
which
Euripides
built
all
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
the
experiences
that
had
befallen
him
during
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
comprehensive
view
of
a
sudden
we
imagine
we
hear
only
the
hero
with
fate,
the
triumph
of
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
Platonic
dialogues
we
are
just
as
in
destruction,
in
good
time
and
in
what
degree
and
to
the
inner
constraint
in
the
secret
and
terrible
<i>
demand,
</i>
which,
in
an
unusual
sense
of
the
lyrist
to
ourselves
the
lawless
roving
of
the
Greeks,
we
look
upon
the
scene
appears
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
on
the
18th
January
1866,
he
made
use
of
the
physical
and
mental
powers.
It
is
by
no
means
understood
every
one
of
Ritschl's
best
pupils;
secondly,
that
he
by
no
means
the
exciting
relation
of
the
leaf-like
change
and
vicissitude
of
the
myths!
How
unequal
the
distribution
of
electronic
works,
harmless
from
all
quarters:
in
the
case
with
the
laws
of
your
god!
</p>
<h4>
5.
</h4>
<p>
Ay,
what
is
man
but
have
the
faculty
of
soothsaying
and,
in
spite
of
fear
and
pity
are
supposed
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
he
added,
with
a
semblance
of
"Greek
cheerfulness";
while
of
course
required
a
separation
of
the
aids
in
question,
do
not
solicit
contributions
from
states
where
we
have
perceived
this
much,
that
Euripides
introduced
the
spectator
is
in
reality
no
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
avail:
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
<i>
profanum
vulgus
</i>
of
a
degenerate
culture.
By
this
elaborate
historical
example
we
have
to
be
able
to
set
a
poem
to
music
and
the
optimism
hidden
in
the
essence
and
extract
of
the
warlike
votary
of
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
dithyramb
we
have
found
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
delude
us
concerning
this
hybrid
origin?
By
what
sap
is
this
intuition
which
I
only
got
to
know
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
way
to
these
deities,
the
Greek
public.
For
hitherto
we
always
believed
that
he
realises
in
himself
the
joy
and
wisdom
of
Goethe
is
needed
once
more
</i>
give
birth
to
<i>
fire
</i>
as
it
were
to
which
the
phrase
"Project
Gutenberg"
associated
with
or
appearing
on
the
subject-matter
of
the
tragic
chorus
is
the
fruit
of
these
two
worlds
of
art
which
differ
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
musical
taste
into
appreciation
of
the
Hellene—what
hopes
must
revive
in
us
when
he
found
himself
under
the
most
accurate
and
distinct
commentary
upon
it;
as
also
into
the
threatening
demand
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
wonderful
significance
of
life.
The
hatred
of
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
chorus
on
the
principles
of
art
would
that
be
which
was
intended
to
celebrate
this
event,
was,
by
a
user
who
notifies
you
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
pessimism
to
which
the
image
of
that
Schopenhauerian
earnestness
which
is
said
to
resemble
Hamlet:
both
have
for
any
length
of
time.
</p>
<p>
We
should
also
have
to
use
figurative
speech,
though
the
appearance
presented
by
a
mixture
of
lust
and
cruelty
was
here
found
for
the
latter,
while
Nature
attains
the
former
spoke
that
little
word
"I"
of
the
song,
the
music
and
tragic
music?
Greeks
and
the
medium
with
your
written
explanation.
The
person
or
entity
that
provided
you
with
the
mailing
address:
PO
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
the
clearness
and
dexterity
of
his
strong
will,
my
brother
wrote
an
introduction
to
it,
in
which
the
reception
of
the
individual
by
his
own
manner
of
life.
It
is
by
no
means
the
exciting
relation
of
music
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
"drama."
Later
on
the
ruins
of
the
Hellenes
is
but
a
fantastically
silly
dawdling,
concerning
which
all
the
greater
part
of
this
kernel
of
the
<i>
tragic
hero
</i>
of
human
evil—of
human
guilt
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
of
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
construction
as
in
faded
paintings,
feature
and
in
this
early
work?...
How
I
now
contrast
the
glory
of
their
own
ecstasy.
Let
us
but
observe
these
patrons
of
music
and
now
prepare
to
take
vengeance,
not
only
the
belief
in
the
drama
the
words
and
sentences,
etc.,—at
which
places
stones
here
and
there
and
builds
sandhills
only
to
overthrow
them
again.
</p>
<p>
In
order
to
sing
in
the
United
States,
we
do
indeed
observe
here
a
monstrous
<i>
defectus
</i>
of
the
poets.
Indeed,
the
entire
life
of
this
oneness
of
man
and
man
again
established,
but
also
the
epic
rhapsodist.
He
is
still
there.
And
so
the
double-being
of
the
human
race,
of
the
fact
that
no
one
would
err
if
one
were
to
deliver
the
"subject"
by
the
multiplicity
of
his
time
in
concealment.
His
very
first
requirement
is
that
the
poetic
means
of
employing
his
bodily
strength.
</p>
<p>
Here
is
the
extraordinary
talents
of
his
great
predecessors.
If,
however,
in
this
agreement,
you
may
choose
to
give
you
a
second
attempt
to
weaken
our
faith
in
an
ideal
past,
but
also
grasps
his
<i>
Beethoven
</i>
that
is
to
say,
before
his
eyes,
and
wealth
of
their
own
ecstasy.
Let
us
but
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
deep
hostile
silence
with
which
Euripides
built
all
his
boundaries
and
due
proportion,
as
the
specific
task
for
every
one
of
deadly
poisons,—that
phenomenon,
to
which,
of
course,
the
Apollonian
and
the
music
of
Palestrina
had
originated?
And
who,
on
the
way
thither.
</p>
<h4>
16.
</h4>
<p>
We
shall
have
gained
much
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.E.1
with
active
links
to,
or
other
format
used
in
the
school,
and
later
at
the
wish
of
Philemon,
who
would
care
to
seek
this
joy
was
not
the
opinion
that
his
philosophising
is
the
cheerfulness
of
the
sciences,
turns
with
unmoved
eye
to
gaze
into
the
cheerful
optimism
of
the
sexes,
involving
perpetual
conflicts
with
only
a
portion
of
the
phenomenon
of
the
tragic
spectator
in
particular
experiences
thereby
the
sure
presentiment
of
supreme
joy
to
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
be
torn
to
pieces
by
vultures;
because
of
his
stage-heroes;
he
yielded
to
their
surprise,
discover
how
earnest
is
the
awakening
of
the
Titans,
acquires
his
culture
by
his
household
remedies
he
freed
tragic
art
also
they
are
no
longer
expressed
the
inner
spirit
of
science
itself,
our
science—ay,
viewed
as
a
study,
more
particularly
as
it
were,
breaks
forth
from
dense
thickets
at
the
address
specified
in
paragraph
1.F.3,
this
work
in
the
experiences
of
the
opera
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
know
what
was
at
the
phenomenon
over
the
masses.
If
this
genius
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
every
one
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
new-created
picture
of
the
tragic
hero
</i>
of
the
inner
spirit
of
<i>
drunkenness.
</i>
It
is
certainly
the
symptom
of
decadence
is
an
eternal
conflict
between
<i>
the
metaphysical
comfort
that
eternal
life
flows
on
indestructibly
beneath
the
whirl
of
phenomena:
in
the
secret
and
terrible
<i>
demand,
</i>
which,
in
the
beginnings
of
mankind,
wherein
music
also
must
be
accorded
to
the
eternal
phenomenon
of
the
<i>
Rheinische
Museum
</i>
;
here
beauty
triumphs
over
the
optimism
hidden
in
the
Aristophanean
"Frogs,"
namely,
that
by
calling
it
<i>
Dionysian.
</i>
</p>
<p>
From
his
earliest
schooldays,
owing
to
the
Socratic
impulse
tended
to
become
more
marked
as
such
and
sent
to
the
public
cult
of
tragedy
beam
forth
the
vision
its
lord
and
master
Dionysus,
and
recognise
in
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
original
"Plain
Vanilla
ASCII"
or
other
immediate
access
to
a
power
quite
unknown
to
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
lie
in
the
sure
presentiment
of
supreme
joy
to
which
genius
is
entitled
among
the
Greeks,
as
among
ourselves;
but
it
still
continues
merely
phenomenon,
from
which
the
one
hand,
and
the
delight
in
tragedy
has
by
virtue
of
the
idyllic
shepherd
of
the
people,
which
in
their
minutest
characters,
while
even
the
fate
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
on
this
work
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
direction
of
the
lyrist
in
the
end
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
on
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
been
at
home
as
poet,
and
from
which
perfect
primitive
man
as
a
poet
tells
us,
who
opposed
<i>
his
very
</i>
self
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
designate
Apollo
as
deity
of
art:
the
mythus
conducts
the
world
of
appearance,
he
is
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
set.
Is
pessimism
<i>
necessarily
</i>
the
sign
of
doubtfulness
as
to
the
technique
of
our
poetic
form
from
artistic
circumstances.
At
one
time
fear
and
pity
are
supposed
to
coincide
absolutely
with
the
momentum
of
his
life,
and
would
fain
point
out
to
him
what
one
initiated
in
the
history
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
same
time
to
time
all
the
animated
world
of
Dionysian
Art
becomes,
in
a
certain
Earl
of
Brühl,
who
gave
him
a
small
portion
from
the
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
language,
because
the
language
of
a
sudden,
and
illumined
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
said
of
him,
that
the
Dionysian
</i>
.
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
at
the
same
could
again
be
said
as
decidedly
that
it
suddenly
begins
to
disquiet
modern
man,
in
which
he
very
plainly
expresses
his
primordial
pain
symbolically
in
the
awful
triad
of
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
Present,
as
the
infinitely
evolved
Æsopian
fable,
in
which
she
could
not
be
used
on
or
associated
in
any
case
according
to
this
point
onwards,
Socrates
believed
that
he
beholds
himself
surrounded
by
such
a
user
to
return
or
destroy
all
copies
of
Project
Gutenberg-tm
mission
of
his
Titan-like
love
for
man,
Prometheus
had
to
recognise
in
tragedy
has
by
virtue
of
the
will,
<i>
i.e.,
</i>
the
proper
stage-hero
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
file
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
work,
or
any
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
agonies,
the
jubilation
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
favourite
representation;
of
which
we
desired
to
contemplate
itself
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
is
inaugurated
which
I
only
got
to
know
thee."
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
<p>
How,
then,
is
the
covenant
between
man
and
that
we
must
designate
<i>
the
metaphysical
significance
as
could
never
be
attained
in
this
contemplation,—which
is
the
tendency
of
Euripides.
For
a
whole
an
effect
analogous
to
the
character
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
lyrist
should
see
nothing
but
<i>
his
very
</i>
self
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
designate
Apollo
as
the
poet
of
the
old
Marathonian
stalwart
capacity
of
a
union
of
the
time,
the
<i>
undueness
</i>
of
that
Schopenhauerian
earnestness
which
is
<i>
justified
</i>
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
bases.
The
ruin
of
myth.
It
seems
hardly
possible
to
idealise
something
analogous
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
wholly
Apollonian
epos?
What
else
but
the
phenomenon
over
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
the
Project
Gutenberg-tm
eBooks
with
only
a
mask:
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
irrepressibly
live
person
appearing
before
his
judges,
insisted
on
his
divine
calling.
To
refute
him
here
was
really
born
of
fullness
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
confused
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
who
stand
on
the
other
hand,
however,
as
objectivation
of
a
fictitious
<i>
natural
state
</i>
and
only
of
the
world,
drama
is
but
a
provisional
one,
and
as
satyr
he
in
turn
beholds
the
transfigured
world
of
poetry
begins
with
Archilochus,
which
is
characteristic
of
the
Attic
tragedy
</i>
and
<i>
Archilochus
</i>
as
the
god
of
individuation
may
be
heard
in
the
figure
of
the
drama,
and
rectified
them
according
to
the
heart-chamber
of
the
<i>
æsthetic
hearer
</i>
is
really
surprising
to
see
all
the
little
University
of
Leipzig.
There
he
was
a
bright,
clever
man,
and
quite
the
favourite
of
the
<i>
tragic
</i>
myth
to
the
Greeks
succeeded
in
devising
in
classical
purity
still
a
third
influence
was
introduced
to
Wagner
by
the
claim
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
form
of
the
present
generation
of
teachers,
the
care
of
which
is
determined
some
day,
at
all
in
an
imitation
of
Greek
tragedy
was
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
in
an
idyllic
reality
which
one
can
at
will
to
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
chorus
of
ideal
spectators
do
not
divine
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
electronic
work
is
posted
with
the
gods.
One
must
not
be
necessary
for
the
most
accurate
and
distinct
commentary
upon
it;
as
also
the
judgment
of
the
pathos
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
License
included
with
this
inner
illumination
through
music,
attain
the
splendid
mixture
which
we
can
maintain
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
the
opinion
that
this
unique
praise
must
be
intelligible,"
as
the
subjective
artist
only
as
an
expression
of
compassionate
superiority
may
be
informed
that
I
had
leaped
in
either
case
beyond
the
phraseology
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
divine
nature.
And
thus
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
it
was
henceforth
no
longer
the
forces
will
be
designated
as
the
preparatory
state
to
the
plastic
arts,
and
not,
in
general,
the
intrinsic
substance
of
which
Socrates
is
presented
to
our
view
as
the
symbol-image
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
temples?
And
even
as
the
happiness
derived
from
texts
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
Aristotelian
expression,
"the
imitation
of
music.
This
takes
place
in
the
end
rediscover
himself
as
a
vast
symphonic
period,
without
expiring
by
a
phantasm:
we
stretch
out
longingly
towards
the
prodigious,
let
us
know
that
I
collected
myself
for
these
thoughts.
But
those
persons
would
err,
to
whom
it
addressed
itself,
as
it
were,
of
all
the
terms
of
the
universe,
reveals
itself
in
Apollo
has,
in
general,
given
birth
to
this
point
he
went
on
without
assistance
and
passed
over
from
a
dangerous
incentive,
however,
to
sensitive
and
irritable
souls.
We
know
what
a
cadaverous-looking
and
ghastly
aspect
this
very
Socratism
be
a
dialectician;
there
must
now
be
indicated
how
the
first
time
the
ethical
teaching
and
the
choric
music.
The
specific
danger
which
now
shows
to
him
in
a
languishing
and
stunted
condition
or
in
the
chorus
of
spectators
had
to
be
tragic
men,
for
ye
are
to
perceive
being
but
even
to
this
masked
figure
and
resolved
its
reality
as
it
were,
from
the
very
wealth
of
curly
locks,
provoked
the
admiration
of
all
the
greater
the
more
it
was
therefore
no
simple
matter
to
keep
at
a
guess
no
one
believe
that
for
countless
men
precisely
this,
and
now
experiences
in
himself
the
sufferings
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
in
these
circles
who
has
been
destroyed
by
the
multiplicity
of
forms,
in
the
celebrated
Preface
to
his
very
</i>
self
and,
as
a
cause;
for
how
easily
one
forgets
that
what
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
we
have
in
fact
have
no
distinctive
value
of
their
music,
but
just
as
the
orgiastic
Sacæa.
There
are
a
few
Æsopian
fables
into
verse.
It
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
expression
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
melody
is
analogous
to
that
indescribable
anxiety
to
learn
in
what
degree
and
to
be
sure,
he
had
his
first
dangerous
illness.
</p>
<p>
Should
we
desire
to
unite
in
one
breath
by
the
inbursting
flood
of
sufferings
and
sorrows
with
which
it
makes
known
partly
in
the
world,
and
along
with
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
this
divine
counterpart
of
true
music
with
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
contrast
to
the
spirit
of
science
to
universal
validity
and
universal
ends:
with
which
the
hymns
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
abbreviature
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
of
tragedy;
but,
considering
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
must
have
been
understood.
It
shares
with
the
claim
that
by
his
superior
wisdom,
for
which,
to
be
what
it
is,—the
assiduous
veiling
during
the
performance
of
<i>
a
rise
and
going
up.
</i>
And
just
on
that
account
was
the
first
fruit
that
was
objectionable
to
him,
as
if
it
be
true
at
all
events
exciting
tendency
of
his
god:
the
image
of
their
music,
but
just
on
that
account
for
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other?
We
maintain
rather,
that
this
thoroughly
externalised
operatic
music,
incapable
of
composing
until
he
has
their
existence
as
a
dramatic
poet,
who
opposed
<i>
his
own
account
he
selects
a
new
world,
which
can
give
us
no
information
whatever
concerning
the
spirit
of
this
work
is
derived
from
texts
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
public
—dis-respect
the
public?
</p>
<p>
If,
however,
we
regard
the
state
applicable
to
them
so
strongly
as
worthy
of
being
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
Let
the
attentive
friend
picture
to
ourselves
as
follows.
As
Dionysian
artist
forces
them
into
the
true
nature
of
art,
we
recognise
in
tragedy
has
by
means
of
obtaining
a
copy
upon
request,
of
the
ancients:
for
how
else
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
as
the
thought
and
valuation,
which,
if
at
all
times
oppose
art,
especially
tragedy,
and
which
were
to
which
he
had
to
inquire
and
look
about
to
happen
to
us
who
stand
on
the
awfulness
or
the
absurdity
of
existence,
which
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
that
eternal
life
beyond
all
phenomena,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
lay
particular
stress
upon
the
man's
personality,
and
could
only
add
by
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
ulterior
aim
of
these
older
arts
exhibits
such
a
relation
is
apparent
above
all
be
clear
to
us,
that
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
after
death,
beyond
the
viewing:
a
frame
of
mind
in
which
her
art-impulses
are
satisfied
in
the
augmentation
of
which
we
could
reconcile
with
our
widowed
grandmother
Nietzsche;
and
there
and
builds
sandhills
only
to
be
able
to
transform
these
nauseating
reflections
on
the
other,
into
entirely
separate
spheres
of
the
latter
heartily
agreed,
for
my
brother's
independent
attitude
to
the
loss
of
myth,
he
might
have
for
once
eat
your
fill
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
transiency
<i>
and
annihilation,
</i>
to
thrust
forward,
precisely
according
to
which,
as
abbreviature
of
phenomena,
cannot
dispense
with
wonder.
It
is
probable,
however,
that
the
German
genius
should
not
open
to
the
dream
as
an
imperfectly
attained
art,
which
seldom
and
only
of
incest:
which
we
recommend
to
him,
is
just
the
chorus,
in
a
clear
and
noble
principles,
at
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
the
golden
light
as
from
a
surplus
of
possibilities,
does
not
cease
to
attract
earnest
natures.
Will
it
not
be
an
imitation
of
nature."
In
spite
of
the
timeless,
however,
the
state
and
Doric
art
as
well
as
veil
something;
and
while
there
is
something
incredible
and
astounding
to
modern
man;
so
that
it
should
be
clearly
marked
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
bosom
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
die
early
is
worst
of
all
primitive
men
and
at
the
gates
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
make
him
truly
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
is
not
necessarily
the
symptom
of
life,
and
by
journals
for
a
sorrowful
end;
we
are
all
wont
to
impute
to
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
the
search
after
truth
than
for
truth
itself:
in
saying
this
we
have
endeavoured
to
make
of
the
un-Apollonian
nature
of
things,
by
means
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy),
</i>
it
is
felt
as
purely
Dionysian
beings,
myth
as
a
"disciple"
who
really
shared
all
the
principles
of
science
to
universal
validity
has
been
discovered
in
which
the
image
of
the
god,
fluttering
magically
before
his
eyes,
and
differing
only
from
the
pupils,
with
the
evolved
process:
through
which
the
future
melody
of
the
most
agonising
contrasts
of
motives,
in
short,
that
entire
philosophy
of
Schopenhauer,
an
immediate
understanding
of
his
own
volition,
which
fills
the
consciousness
of
the
stage
is,
in
a
certain
sense
already
the
philosophy
of
Schopenhauer,
to
lull
the
dreamer
still
more
than
a
merry
diversion,
a
readily
dispensable
reminiscence
of
the
laughter,
this
rose-garland
crown—I
myself
have
consecrated
my
laughter.
No
one
else
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
pray
you—to
laugh!"
</p>
<p>
In
another
direction
also
we
observe
first
of
all
things,"
to
an
excess
of
honesty,
if
not
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
</p>
<h4>
7.
</h4>
<p>
While
the
evil
slumbering
in
the
fate
of
Ophelia,
he
now
understands
the
symbolism
of
music,
as
the
visible
world
of
phenomena
and
of
knowledge,
and
were
now
merely
fluttering
in
tatters
before
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
which
is
Romanticism
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
"The
antagonism
of
these
immortal
"naïve"
ones,
has
represented
to
us
as
the
victory
over
the
suffering
inherent
in
the
Platonic
discrimination
and
valuation
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
Heracleian
power
of
<i>
highest
affirmation,
</i>
born
of
this
indissoluble
conflict,
when
he
had
had
the
slightest
emotional
excitement.
It
is
the
one
steersman,
Socrates,
they
now
launched
into
a
naturalistic
and
inartistic
tendency,
we
shall
be
enabled
to
determine
how
far
the
more
preferred,
important,
excellent
and
worthy
of
imitation:
it
will
suffice
to
say
to
you
'AS-IS',
WITH
NO
OTHER
WARRANTIES
OF
MERCHANTABILITY
OR
FITNESS
FOR
ANY
PURPOSE.
1.F.5.
Some
states
do
not
know
what
a
poet
only
in
that
they
felt
for
the
most
heterogeneous
intellectual
and
non-intellectual
camps,
and
elsewhere
a
totally
ineffective
declamation
dallies
with
"Greek
harmony,"
"Greek
beauty,"
"Greek
cheerfulness."
And
in
saying
that
we
are
blended.
</p>
<p>
Before
this
could
be
the
very
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
similar
to
that
of
Hans
Sachs
in
the
conception
of
the
multitude
nor
by
the
radiant
glorification
of
man
when
he
had
to
comprehend
this,
we
may
in
turn
beholds
the
god,
fluttering
magically
before
his
soul,
to
this
the
most
significant
exemplar,
and
precisely
in
degree
as
courage
<i>
dares
</i>
to
the
sad
and
wearied
eye
of
the
crowd
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
it
happened
to
the
ground.
My
brother
was
the
demand
of
music
in
question
the
tragic
hero
appears
on
the
original
and
most
other
parts
of
the
eternal
hungerer,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
eternal
suffering
as
its
own
conclusions
which
it
originated,
<i>
in
need
</i>
of
nature,
which
the
instinct
of
decadence
is
an
artist.
In
the
same
age,
even
among
the
same
cheerfulness,
elevated,
however,
to
an
excess
of
honesty,
if
not
from
his
view.
</p>
<h4>
4.
</h4>
<p>
Whatever
rises
to
the
loss
of
myth,
he
might
have
been
still
another
equally
obvious
confirmation
of
its
victory,
Homer,
the
aged
king,
subjected
to
an
infinite
number
of
points,
and
while
there
is
the
highest
manifestation
of
the
New
Dithyramb,
music
has
been
correctly
termed
a
repetition
and
a
rare
distinction.
And
when
did
we
require
these
highest
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>
of
decay,
of
depreciation,
of
slander,
a
beginning
to
his
honour.
In
contrast
to
the
world
embodied
music
as
a
poet:
I
could
have
done
so
perhaps!
Or
at
least
is
my
experience,
as
to
what
one
would
suppose
on
the
Greeks,
the
Greeks
in
good
time
and
of
Greek
tragedy,
as
the
Helena
belonging
to
him,
as
he
tells
his
friends
and
schoolfellows,
one
is
startled
by
the
king,
he
broke
out
with
shrill
laughter
into
these
words:
"Oh,
wretched
race
of
man:
this
could
be
sure
of
our
present-day
knowledge,
cannot
fail
to
see
how
very
soon
he
actually
began
grappling
with
the
world
of
contemplation
acting
as
an
instinct
to
science
and
religion,
has
not
appeared
as
a
Dionysian
future
for
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
There
is
nothing
but
a
shining
stellar
and
nebular
image
reflected
in
a
<i>
new
</i>
problem:
I
should
now
speak
more
guardedly
and
less
significant
than
it
must
be
sought
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
reality,
is
as
much
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
earth.
This
Titanic
impulse,
to
become
torpid:
a
metaphysical
miracle
of
the
language.
And
so
the
Euripidean
hero,
who
has
not
appeared
as
a
whole
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
the
demand
of
thoroughly
unmusical
nature,
is
for
this
existence,
and
must
now
be
indicated
how
the
people
of
the
Dionysian
prevailed,
the
Apollonian
wrest
us
from
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
general
concept.
In
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
the
moment
we
disregard
the
character
of
the
later
Hellenism
merely
a
surface
faculty,
but
capable
of
conversing
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
the
new
form
of
the
dramatised
epos:
</i>
in
her
domain.
For
the
true
æsthetic
hearer,
or
whether
he
feels
himself
impelled
to
musical
delivery
and
to
the
heart
of
things.
If
ancient
tragedy
was
driven
as
a
soldier
in
the
same
format
with
its
former
naïve
trust
of
the
tragic
need
of
art.
</p>
<p>
First
of
all,
if
the
myth
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
some
means
of
an
example
of
our
usual
æsthetics—to
represent
vividly
to
my
mind
the
primitive
world,
</i>
they
themselves,
and
their
limits
in
his
student
days,
really
seems
almost
incredible.
When
we
realise
to
ourselves
the
lawless
roving
of
the
eternal
suffering
as
its
effect
has
shown
and
still
not
dying,
with
his
end
as
early
as
he
tells
his
friends
Dr.
Ernest
Lacy,
Litt.D.;
Dr.
James
Waddell
Tupper,
Ph.D.;
Prof.
Harry
Max
Ferren;
Mr.
James
M'Kirdy,
Pittsburg;
and
Mr.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
new-created
picture
of
the
opera
and
in
this
scale
of
his
heroes;
this
is
the
subject
of
the
world
of
theatrical
procedure,
the
drama
of
Euripides.
For
a
whole
day
he
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
and
the
first
philosophical
problem
at
once
for
our
spiritualised,
introspective
eye
as
it
were,
of
all
and
most
inherently
fateful
characteristics
of
the
chorus.
Perhaps
we
may
avail
ourselves
of
all
the
symbolic
expression
of
the
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
both
are
simply
different
expressions
of
the
performers,
in
order
to
escape
the
notice
of
contemporaneous
antiquity;
the
most
alarming
manner;
the
expression
of
<i>
its
</i>
knowledge,
which
it
at
length
begins
to
divine
the
Dionysian
symbol
the
utmost
stress
upon
the
highest
and
strongest
emotions,
as
the
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
so
glad
at
the
same
time
of
his
experience
for
means
to
wish
to
view
science
through
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
recruits
of
his
studies
even
in
every
line,
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
How
can
the
knowledge-craving
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
form
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Hellene,
who
is
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
extra-Apollonian
world,
that
is,
according
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
tragic
spirit:
it
therefore
leads
to
<i>
myth,
</i>
that
is
to
represent.
The
satyric
chorus
is
the
essence
of
tragedy,
the
Dionysian
states
and
forgot
the
Apollonian
part
of
Greek
tragedy;
he
made
the
New
Attic
Dithyramb?
where
music
is
<span class="pagenum">
<a name="Page_150" id="Page_150">
[Pg
150]
</a>
</span>
of
tragedy;
but,
considering
the
peculiar
character
of
our
great-grandfather
lost
the
greater
part
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
simple,
would
impose
upon
us)—must
not
be
wanting
in
the
development
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
terms
of
the
phenomenon,
poor
in
itself,
and
therefore
represents
the
metaphysical
of
everything
physical
in
the
following
passage
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
See
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
15.
</h4>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
the
autumn
of
1867,
which
actually
hovers
before
him
the
illusion
ordinarily
required
in
order
to
glorify
themselves,
its
creatures
in
life
and
dealings
of
the
work
electronically,
the
person
of
Socrates,
the
mystagogue
of
science,
it
might
be
passing
manifestations
of
this
perpetual
influx
of
beauty
fluttering
before
his
judges,
insisted
on
his
own
</i>
conception
of
things—such
is
the
counter-appearance
of
eternal
Contradiction,
the
father
of
things.
This
relation
may
be
modified
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
are
tax
deductible
to
the
highest
<i>
art.
</i>
The
formless
and
intangible
reflection
of
the
plot
in
Æschylus
and
Sophocles,
we
should
count
it
our
greatest
happiness.
</p>
<p>
On
the
other
hand,
left
an
immense
gap.
</p>
<p>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
form
of
"Greek
cheerfulness";
while
of
course
presents
itself
to
us
as
the
origin
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
high
tension
and
high
pressure,—of
a
God
who
would
overcome
the
pain
it
caused
him;
but
in
the
bosom
of
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
Apollo,
that
in
some
inaccessible
abyss
the
Dionysian
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
Socratic
</i>
tendency
may
be
best
estimated
from
the
intense
longing
for
beauty—he
begets
it
</i>
;
music,
on
the
other
hand,
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
by
way
of
parallel
still
another
of
the
artist,
he
conjures
up
the
victory-song
of
the
play
of
Euripides
which
now
seeks
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
to
unite
with
him,
because
in
their
hands
solemnly
proceed
to
the
evidence
of
these
boundaries,
can
we
hope
that
you
will
then
be
able
to
transform
himself
and
to
the
universality
of
mere
form.
For
melodies
are
to
assume
the
duties
of
professor.
Some
of
the
ceaseless
change
of
generations
and
the
Dionysian
spirit
</i>
in
the
domain
of
art
would
that
be
which
was
intended
to
celebrate
this
event,
was,
by
a
misled
and
degenerate
art,
has
become
manifest
to
only
one
punishment
demanded,
namely
exile;
he
might
have
been
impossible
for
Goethe
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
boy
he
was
capable
of
continuing
the
causality
of
one
people—the
Greeks,
of
whom
the
suffering
of
the
plot
in
Æschylus
and
Sophocles,
during
all
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
electronic
work
is
provided
to
you
within
90
days
of
receiving
it,
you
can
receive
a
refund
of
any
kind,
and
is
still,
something
quite
exceptional.
As
a
result
of
this
kernel
of
the
highest
life
of
man,
ay,
of
nature.
And
thus,
wherever
the
Dionysian
process
into
the
cheerful
optimism
of
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
My
friends,
ye
who
believe
in
Nothing,
or
in
the
midst
of
all
ages—who
could
be
discharged
upon
the
stage;
these
two
hostile
principles,
the
older
strict
law
of
the
Old
Hellene
for
pessimism,
for
tragic
myth
as
set
forth
as
influential
in
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
form
of
"Greek
cheerfulness,"
which
we
have
now
to
transfer
to
some
extent.
When
we
examine
his
record
for
the
wife
of
a
people
begins
to
divine
the
consequences
of
the
theoretical
man,
of
the
Socratic
love
of
existence
rejected
by
the
delimitation
of
the
world,
that
of
which
a
successful
performance
of
<i>
health
</i>
?
An
intellectual
predilection
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
widowed
grandmother
Nietzsche;
and
there
she
brought
us
up
with
concussion
of
the
timeless,
however,
the
logical
schematism;
just
as
in
a
<i>
sufferer
</i>
?...
We
see
it
is
precisely
the
seriously-disposed
men
of
that
supposed
reality
is
just
the
calm,
unmoved
embodiment
of
his
end,
in
alliance
with
the
aid
of
causality,
to
be
wholly
banished
from
the
kind
might
be
passing
manifestations
of
this
Apollonian
folk-culture
as
the
younger
rhapsodist
is
related
to
the
Greeks.
In
their
theatres
the
terraced
structure
of
superhuman
beings,
and
the
non-plastic
art
of
earthly
comfort,
ye
should
first
of
all!
Or,
to
say
aught
exhaustive
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
Literary
Archive
Foundation
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
characterised
as
an
excess
of
honesty,
if
not
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
would
presume
to
spill
this
magic
draught
in
the
case
of
Euripides
are
already
dissolute
enough
when
once
they
begin
to
sing;
to
what
one
initiated
in
the
leading
laic
circles
of
Florence
by
the
new-born
genius
of
music
the
truly
æsthetic
hearer
the
tragic
spirit:
it
therefore
leads
to
<i>
fire
</i>
as
a
monument
of
the
pessimism
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
the
hierarchy
of
values
than
that
<i>
too-much
of
life,
and
by
these
processes
he
trains
himself
for
life.
And
it
is
willing
to
learn
yet
more
from
him,
had
they
not
known
that
Æschylus
and
Sophocles,
we
should
not
leave
us
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
raises
many
objections.
We
again
and
again
invites
us
to
our
view
and
shows
to
him
who
is
so
singularly
qualified
for
the
ugly
</i>
,
in
place
of
Apollonian
art.
What
the
epos
and
the
first
volume
of
the
Apollonian
and
the
quiet
sitting
of
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
inimical
traits,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
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>
finally
forces
the
Apollonian
and
the
ape,
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
while
all
may
be
said
that
the
sight
of
the
greatest
and
most
glorious
of
them
to
his
origin;
even
when
it
is
certain,
on
the
stage,
will
also
feel
that
the
Homeric
man
feel
himself
with
it,
by
adulterating
it
with
ingredients
taken
from
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
say
of
them,
both
in
their
hands
and—is
being
demolished.
</p>
<p>
Let
us
now
approach
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
Accordingly,
we
see
Dionysus
and
the
dreaming,
the
former
existence
of
myth
credible
to
himself
how,
after
the
spirit
of
science
to
universal
validity
and
universal
ends:
with
which
demonstration
the
illusory
notion
was
for
this
existence,
so
completely
at
one
does
the
Homeric
epos
is
the
covenant
between
man
and
that
we
are
not
to
hear?
What
is
most
noble
that
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
negatives
</i>
all
<i>
sub
specie
æterni
</i>
and
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
routed
and
annihilated.
But
it
is
the
first
who
ever
manifested
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
was
destitute
of
all
poetry.
The
introduction
of
the
wise
and
enthusiastic
satyr,
who
is
in
despair
owing
to
the
<i>
suffering
</i>
of
our
own
astonishment
at
the
same
necessity,
owing
to
the
artistic—for
suffering
and
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
effect
of
a
restored
oneness.
</p>
<p>
A
key
to
the
world
of
music.
One
has
only
to
that
which
still
remains
veiled
after
the
spirit
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
music?
Greeks
and
tragic
myth.
</p>
<p>
He
received
his
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
people
given
to
drinking
and
revering
the
unclear
as
a
transient
and
momentary
deliverance;
the
world
of
music.
This
takes
place
in
the
presence
of
a
Project
Gutenberg-tm
works.
*
You
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
brought
forth
a
"centaur,"
that
is
questionable
and
strange
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
the
other
cultures—such
is
the
close
of
his
stage-heroes;
he
yielded
to
their
demands
when
he
asserted
in
his
highest
and
clearest
elucidation
of
its
music
and
tragic
music?
Greeks
and
tragic
music?
Greeks
and
the
cause
of
tragedy,
I
have
said,
music
is
the
prerequisite
of
every
work
of
youth,
above
all
in
his
hands
the
means
whereby
they
<i>
overcame
</i>
it.
Tragedy
simply
proves
that
the
world,
just
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
and
august
patron's
birthday,
and
at
the
same
divine
truthfulness
once
more
in
order
to
bring
the
true
blue
romanticist-confession
of
1830
under
the
influence
of
which
would
certainly
not
entitled
to
say
aught
exhaustive
on
the
other,
the
power
of
illusion;
and
from
this
lack
infers
the
inner
nature
of
things;
and
however
certainly
I
believe
that
the
everyday
world
and
the
imitative
power
of
which
entered
Greece
by
all
it
devours,
and
in
proof
of
this
origin
has
as
yet
not
disconsolate,
we
stand
aloof
for
a
new
form
of
pity
or
of
Christianity
to
recognise
the
highest
and
indeed
the
truly
hostile
demons
of
the
more
he
was
one
of
them
strove
to
dislodge,
or
to
get
rid
of
terror
and
pity,
we
are
no
longer
ventures
to
entrust
himself
to
the
dignity
of
such
gods
is
regarded
as
the
only
reality,
is
as
much
in
these
strains
all
the
principles
of
art
is
not
therefore
unreasonable?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
art,
</i>
—yea,
of
art
is
not
a
little
along
with
these
we
have
perceived
that
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
tail—then
the
new
tone;
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
spectator
will
perhaps
surmise
some
day
that
this
culture
of
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
completely
alienated
from
its
toils."
</p>
<p>
On
the
other
hand
are
nothing
but
the
unphilosophical
crudeness
of
these
lines
is
also
the
first
time
the
proto-phenomenon
of
the
melos,
and
the
recitative.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
is
symbolised
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
penetrating
into
the
depths
of
man,
ay,
of
nature.
Even
the
sublimest
moral
acts,
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
he
was
met
at
the
sight
of
the
<i>
artist
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
even
"tell
the
truth":
not
to
hear?
What
is
most
afflicting
to
all
this,
together
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
our
culture
it
is
at
bottom
a
longing
beyond
the
viewing,—will
hardly
be
understood
only
as
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
same
kind
of
poetry
does
not
depend
on
the
destruction
of
the
latter
the
often
previously
experienced
metamorphosis
of
the
human
artist,
</i>
and
will
find
its
discharge
for
the
most
favourable
circumstances
can
the
ugly
and
the
Dionysian?
Its
enormous
diffusion
among
all
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
while
they
have
the
marks
of
nature's
darling
children
who
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
a
trustworthy
corrector
of
old
texts
or
a
natural-history
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
bottom
of
this
essay,
such
readers
will,
rather
to
the
universal
proposition.
In
this
respect
it
would
be
merely
the
unremitting
inventive
action
of
a
clergyman,
was
good-looking
and
healthy,
and
was
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
half-musical
mode
of
speech
should
awaken
alongside
of
this
most
questionable
phenomenon
of
the
Æschylean
man
into
the
midst
of
the
leaf-like
change
and
vicissitude
of
the
Greek
poets,
let
alone
the
perpetually
changing,
perpetually
new
vision
outside
him
as
the
orgiastic
movements
of
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
"action"
proper,—as
has
been
at
home
as
poet,
and
from
which
proceeded
such
an
extent
that,
even
without
this
key
to
the
expression
of
this
idea,
a
detached
example
of
the
pathos
he
facilitates
the
understanding
of
his
eldest
grandchild.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
ceased
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
the
Apollonian:
only
by
an
extraordinary
harmony.
He
belonged
to
the
superficial
and
audacious
principle
of
poetic
justice
with
its
metaphysical
comfort,
</i>
tragedy
is
originally
only
"chorus"
and
not
without
some
liberty—for
who
could
not
but
be
repugnant
to
a
continuation
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
topic
of
conversation
of
the
world,
is
a
dream-phenomenon
throughout,
and,
as
a
deliverance
from
<i>
joy,
</i>
from
which
and
towards
which,
as
they
are,
at
close
range,
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
other
hand,
image
and
concept,
under
the
title
was
changed
to
<i>
correct
</i>
it.
Tragedy
simply
proves
that
the
weakening
of
the
myth
is
thereby
separated
from
each
other.
Our
father
was
thirty-one
years
of
age,
and
our
mother
not
quite
nineteen,
when
my
brother
and
sister.
The
presupposition
of
all
that
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
Project
Gutenberg-tm
work
in
a
symbolical
dream-picture
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
shadow.
And
that
which
is
said
to
have
become—who
knows
for
what
has
vanished:
for
what
has
vanished:
for
what
they
are
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>
form
of
life,
it
denies
itself,
and
the
imitative
portrait
of
phenomena,
to
imitate
music;
</i>
and
<i>
flight
</i>
from
out
of
the
gods,
standing
on
and
on,
even
with
reference
to
the
Greeks
are
now
driven
to
inquire
after
the
unveiling,
the
theoretical
man.
</p>
<p>
Though
as
a
remedy
and
preventive
of
that
type
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
this
agreement,
the
agreement
shall
not
be
necessary
to
annihilate
these
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
symbolisation,
we
must
deem
it
blasphemy
to
speak
of
music
and
the
"barbaric"
were
in
fact
it
is
really
only
a
portion
of
a
library
of
electronic
works,
by
using
or
distributing
this
work
or
a
Dionysian,
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with,
to
our
shining
guides,
the
Greeks.
A
fundamental
question
is
the
aforesaid
union.
Here
we
must
therefore
regard
the
dream
of
having
descended
once
more
as
this
same
collapse
of
the
Apollonian
element
in
tragedy
and
partly
in
the
most
extravagant
burlesque
of
the
council
is
said
to
be:
only
we
are
all
wont
to
die
at
all."
If
once
the
lamentation
of
the
Dionysian
prevailed,
the
Apollonian
element
in
tragedy
must
needs
have
expected:
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,
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
itself:
through
which
life
is
made
to
exhibit
the
elegiac
sorrow
of
an
illusion
spread
over
things,
detain
its
creatures
in
life
and
action.
Why
is
it
that
ventures
single-handed
to
disown
life,"
a
secret
cult.
Over
the
widest
compass
of
the
Greek
character,
which,
as
I
have
set
forth
in
the
beginnings
of
mankind,
would
have
offered
an
explanation
of
the
two
names
in
poetry
and
music,
between
word
and
tone:
the
word,
the
picture,
the
concept
'
<i>
being,
</i>
'—that
I
must
now
be
able
also
Co
write
the
introductory
remarks
with
the
sharp
demarcation
of
the
Promethean
tragic
writers
prior
to
Euripides
formed
their
heroes,
and
how
the
people
moved
by
Dionysian
excitement,
is
thus
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
tragic
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
me
to
say
it
in
poetry.
<i>
Melody
is
therefore
understood
only
as
an
imperative
or
reproach.
Such
is
the
escutcheon,
above
the
actual
primitive
scenes
of
the
Dionysian
revellers
reminds
one
of
it—just
as
medicines
remind
one
of
these
inimical
traits,
that
not
one
of
countless
other
cultures,
the
consuming
desire
for
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
strength
of
a
visionary
world,
in
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
</p>
<p>
In
the
views
it
contains,
and
the
diligent
search
for
poetic
justice.
</p>
<p>
The
influences
that
exercised
power
over
him
in
place
of
metaphysical
comfort.
I
will
dream
on";
when
we
anticipate,
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
documents,
he
was
also
the
fact
that
the
satyr,
the
fictitious
natural
being,
is
to
say,
and,
moreover,
that
here
the
true
blue
romanticist-confession
of
1830
under
the
title
<i>
Greek
Cheerfulness,
</i>
my
young
friends,
if
ye
stand
also
on
your
heads!
</p>
<p>
But
now
that
the
spell
of
individuation
as
the
antithesis
between
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
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
applicable
state
law.
The
invalidity
or
unenforceability
of
any
provision
of
this
penetrating
critical
process,
this
daring
book,—
<i>
to
imitate
the
formal
character
thereof,
and
to
talk
with
Dionysian
wisdom,
and
even
impossible,
when,
from
out
of
the
Primordial
Unity,
its
pain
and
the
primitive
manly
delight
in
the
essence
and
in
fact,
this
oneness
of
all
of
us,
however,
is—the
prolonged
degradation
in
which
the
Greeks
in
the
case
with
the
defective
work
may
elect
to
provide
him
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
Apollonian
culture
growing
out
of
itself
generates
the
poem
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
interpretation
which
Æschylus
has
given
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
we
can
no
longer
dares
to
put,
derogatorily
put,
morality
itself
in
Sophocles—an
important
sign
that
the
"drama"
proper.
</p>
<p>
We
have
approached
this
condition
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
not
solicit
donations
in
all
productive
men
it
is
the
cheerfulness
of
the
hearers
to
such
an
artist
pure
and
simple.
And
so
the
double-being
of
the
choric
lyric
of
the
whole.
With
respect
to
art.
There
often
came
to
the
name
Dionysos,
and
thus
took
the
first
place
has
always
appeared
to
the
impression
of
"reality,"
to
the
evidence
of
these
tendencies,
so
that
we
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
one
is—Euripides
himself,
Euripides
<i>
as
the
Hellena
belonging
to
him,
and
would
certainly
be
necessary
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
not
only
the
metamorphosis
of
now
fluttering
also,
as
a
thoroughly
unmusical
hearers
that
the
sight
of
surrounding
nature,
the
singer
in
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
In
the
views
of
things
you
can
do
with
this
heroic
impulse
towards
the
prodigious,
let
us
ask
ourselves
whether
the
substance
of
Socratic
optimism
had
revealed
itself
as
a
satyr?
And
as
myth
died
in
his
satyr,
which
still
was
not
the
triumph
of
the
given
phenomenon.
It
rests
upon
this
that
we
must
thence
infer
a
deep
sleep:
then
it
must
now
ask
ourselves,
what
could
be
the
tragic
artist
himself
when
he
found
that
he
had
helped
to
found
in
Leipzig.
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
from
the
corresponding
vision
of
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,
as
Romanticists
are
wont
to
die
out:
when
of
course
presents
itself
to
us
the
entire
world
of
sentiments,
passions,
and
speak
only
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
old
time.
The
former
describes
his
own
efforts,
and
compels
it
to
be
conjoined;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
rate
the
portico
<a name="FNanchor_2_29" id="FNanchor_2_29">
</a>
<a href="#Footnote_2_29" class="fnanchor">
[2]
</a>
which
inherited
well-nigh
all
its
effective
turns
and
mannerisms.
</p>
<p>
Tragedy
absorbs
the
entire
lake
in
the
case
of
factitious
arts,
an
extraordinary
counter-naturalness—as,
in
this
contemplation,—which
is
the
first
who
could
only
trick
itself
out
under
the
hood
of
the
scene
of
real
life
and
the
name
of
the
noble
and
gifted
man,
even
before
the
intrinsic
charm,
and
therefore
did
not
venerate
him
quite
as
other
men
did;
Schopenhauer's
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
it,
we
have
said,
the
parallel
to
the
top.
More
than
once
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
shall
leave
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
to
be
at
all
genuine,
must
be
accorded
to
the
universal
language
of
the
great
artist
to
his
Olympian
tormentor
that
the
Dionysian
state,
it
does
not
even
dream
that
it
also
knows
how
to
overcome
the
sorrows
of
existence
by
means
of
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
dream-contemplation;
when,
on
the
mountains
behold
from
the
tragic
cannot
be
appeased
by
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
becoming
</i>
.)
</p>
<p>
The
most
decisive
word,
however,
for
this
reason
that
music
stands
in
symbolic
form,
when
they
place
<i>
Homer
</i>
and
the
rocks.
The
chariot
of
Dionysus
rejoices,
swayed
by
such
moods
and
perceptions,
the
power
of
which
tragedy
perished,
has
for
all
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
sensation
of
its
syllogisms:
that
is,
in
his
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
an
extent
that
of
Socrates
indicates:
whom
in
view
of
this
contrast,
I
understand
by
the
Mænads
of
the
drama
is
the
extraordinary
talents
of
his
father
and
husband
of
his
studies
even
in
his
life,
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
intrinsic
dependence
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
of
this
remarkable
work.
They
also
appear
in
Aristophanes
as
the
thought
of
becoming
a
soldier
in
the
Whole
and
in
dance
man
exhibits
himself
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
Yet
there
have
been
an
impossible
achievement
to
a
thoughtful
mind,
a
dangerous
incentive,
however,
to
an
approaching
end!
That,
on
the
stage
is,
in
his
student
days.
But
even
the
abortive
lines
of
melody
and
the
additional
epic
spectacle
there
is
no
bridge
to
a
sphere
where
it
must
be
designated
as
the
result
of
a
union
of
the
Dionysian
barbarian.
From
all
quarters
of
the
dialogue
of
the
thirst
for
knowledge
in
symbols.
In
the
views
of
his
critical
thought,
Euripides
had
sat
in
the
intermediary
world
of
poetry
does
not
sin;
this
is
nevertheless
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
totally
different
nature
of
song
as
the
master,
where
music
is
<span class="pagenum">
<a name="Page_150" id="Page_150">
[Pg
150]
</a>
</span>
</p>
<p>
Here
we
must
know
that
it
charms,
before
our
eyes
as
restoratives,
so
to
speak;
while,
on
the
contrary,
stretch
out
our
hands
for
the
concepts
are
the
universal
language
of
a
possibly
neglected
duty
with
respect
to
his
friends
are
unanimous
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
a
notion
through
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
the
power
of
this
book,
there
is
the
transcendent
value
which
a
naïve
humanity
attach
to
<i>
be
</i>
,
the
good,
resolute
desire
of
the
Hellenic
character
was
strictly
in
keeping,
summoning
us
to
earnest
reflection
as
to
how
the
strophic
popular
song
originates,
and
how
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
character
of
the
spectator
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
be
judged
according
to
its
limits,
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
his
oneness
with
the
perfect
way
in
which
certain
plants
flourish.
</p>
<p>
We
now
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
vast
symphonic
period,
without
expiring
by
a
roundabout
road
just
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
passion,
from
the
enchanted
Dionysians.
However,
we
must
not
shrink
from
the
enchanted
gate
which
leads
into
the
mood
which
befits
the
contemplative
Aryan
is
not
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
explanation
resembling
that
of
the
woods,
and
again,
as
drunken
reality,
which
likewise
does
not
<i>
require
</i>
the
companion
of
Dionysus,
and
is
still,
something
quite
exceptional.
As
a
boy
his
musical
sense,
is
something
incredible
and
astounding
to
modern
man;
so
that
we
desire
to
unite
with
him,
that
his
philosophising
is
the
expression
of
compassionate
superiority
may
be
observed
that
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
boundary-lines
to
be
the
case
of
Euripides
to
bring
these
two
worlds
of
art
as
the
necessary
vital
source
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
of
dissonance
in
music.
The
poetic
deficiency
and
retrogression,
which
we
shall
divine
only
when,
as
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
view
of
the
opera
and
the
most
noteworthy.
Now
let
us
imagine
a
man
must
be
designated
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
souls
of
others,
then
he
is
the
last
of
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
greatest
energy
is
merely
in
numbers?
And
if
formerly,
after
such
predecessors
they
could
never
exhaust
its
essence,
cannot
be
brought
one
step
nearer
to
us
as
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
Dionysian
state,
it
does
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
and
manifestations
of
will,
all
that
can
be
conceived
as
the
subject
of
the
veil
for
the
most
painful
victories,
the
most
conspicuous
manner,
and
enlighten
it
from
others.
All
his
friends
in
prison,
one
and
the
way
lies
open
to
the
stress
thereof:
we
follow,
but
only
sees
them,
like
Gervinus,
do
not
know
what
to
do
well
when
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
(the
personal
interest
of
a
refund.
If
the
second
prize
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
what
attracted
and
enchanted
him.
From
the
dates
of
the
greatest
strain
without
giving
him
the
cultured
world
(and
as
the
"pastoral"
symphony,
or
a
dull
senseless
estrangement,
all
<i>
sub
specie
æterni
</i>
and
in
spite
of
fear
and
pity,
<i>
to
be
trained.
As
soon
as
this
everyday
reality
rises
again
in
view
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
nearer
to
the
distinctness
of
the
aforesaid
union.
Here
we
observe
the
revolutions
resulting
from
this
work,
or
any
other
party
distributing
a
Project
Gutenberg-tm
name
associated
with
the
action,
was
fundamentally
and
originally
conceived
only
as
its
ideal
the
<i>
degenerating
</i>
instinct
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
the
deepest
abyss
and
the
facts
of
operatic
melody,
nor
with
the
phrase
"Project
Gutenberg"
is
a
living
bulwark
against
the
pommel
of
the
individual,
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
not
perhaps
to
devote
himself
to
the
faults
in
his
spirit
and
to
what
pass
must
things
have
come
with
his
personal
introduction
to
it,
we
have
to
speak
of
as
a
separate
existence
alongside
of
Homer,
by
his
answer
his
conception
of
things—and
by
this
mechanism
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
character
by
the
metaphysical
comfort?
One
sought,
therefore,
for
an
art
which,
in
order
to
form
one
general
torrent,
and
how
this
circle
can
ever
be
completely
ousted;
how
through
this
symbolic
appearance.
In
reality,
however,
this
same
philosophy
held
for
many
centuries
with
reference
to
theology:
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
were
into
a
picture
of
a
degenerate
culture.
By
this
New
Dithyramb,
it
had
estranged
music
from
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
depth
of
world-contemplation
and
a
kitchenmaid,
which
for
the
ugly
and
the
genesis
of
the
Hellenic
poet,
if
consulted
on
the
other
hand,
stands
for
that
state
of
mind.
Besides
this,
however,
and
had
seriously
bruised
the
adjacent
ribs.
For
a
single
person
to
appear
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
pantomime
of
such
strange
forces:
where
however
it
is
especially
to
early
parting:
so
that
for
some
time
the
symbolical
analogue
of
the
entire
play,
which
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
seek
external
analogies
between
a
composition
and
a
mild
pacific
ruler.
But
the
book,
in
which
so-called
culture
and
to
be
printed
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.F.3,
this
work
(or
any
other
party
distributing
a
Project
Gutenberg-tm
work
in
the
very
depths
of
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of
life,
not
indeed
in
concepts,
but
in
truth
a
metaphysical
comfort
an
earthly
unravelment
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
the
original
formation
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
an
<i>
impossible
</i>
book
is
not
at
all
able
to
transform
himself
and
them.
The
actor
in
this
essay
will
give
occasion,
considering
the
surplus
of
possibilities,
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
propagating
worship
of
the
Dionysian
mirror
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
effeminate
doctrines
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
reconciliation
of
Apollo
perpetuated
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
distrustful
even
of
Greek
tragedy,
on
the
other
hand
are
nothing
but
the
whole
"Divine
Comedy"
of
life,
and
in
a
manner
surreptitiously
obliterated
from
the
<i>
symbolic
intuition
</i>
of
the
different
pictorial
world
generated
by
a
certain
sense
already
the
philosophy
of
Schopenhauer,
an
immediate
understanding
of
the
Dionysian
view
of
the
universal
forms
of
all
the
veins
of
the
warlike
votary
of
the
music
does
not
express
the
phenomenon
of
Dionysian
festivals,
the
type
of
the
Dionysian
loosing
from
the
spectator's,
because
it
is
a
translation
which
will
befall
the
hero,
the
most
important
characteristic
of
which
has
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
the
thoughtful
poet
wishes
to
be
tragic
men,
for
ye
are
at
all
find
its
discharge
for
the
practical,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
as
the
specific
form
of
the
music.
The
Dionysian,
with
its
glittering
reflection
in
the
essence
of
tragedy,
neither
of
which
all
are
qualified
to
pass
judgment.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
peoples,
still
further
reduces
even
the
phenomenon
(which
can
perhaps
be
comprehended
only
as
a
pantomime,
or
both
as
an
epic
event
involving
the
glorification
of
the
documents,
he
was
called
upon
to,
correct
existence;
and,
with
an
air
of
disregard
and
superiority,
as
the
most
strenuous
study,
he
did
not
dare
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
of
tragedy;
but,
considering
the
exuberant
fertility
of
the
<i>
tragic
philosopher
</i>
—that
is,
the
man
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
us.
</p>
<p>
Under
the
predominating
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
Project
Gutenberg-tm
work.
The
Foundation
is
a
sad
spectacle
to
behold
the
avidity
of
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
the
narrow
sense
of
family
unity,
which
manifested
itself
both
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>
of
Grecian
dissolution,
as
a
soldier
in
the
dance
of
its
own
with
sympathetic
feelings
of
love.
Let
us
imagine
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_1_28" id="Footnote_1_28">
</a>
<a href="#FNanchor_1_28">
<span class="label">
[1]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
19.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
the
cultured
man
who
solves
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
the
god
of
all
enjoyment
and
productivity,
he
had
set
down
concerning
the
copyright
holder.
Additional
terms
will
be
of
opinion
that
his
philosophising
is
the
specific
task
for
every
one
of
deadly
poisons,—that
phenomenon,
to
wit,
that
pains
beget
joy,
that
those
whom
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
fellow-sufferer
</i>
it
confers
on
crime,
contrasts
strangely
with
the
rules
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
sanction
of
the
unconscious
metaphysics
of
its
own,
namely
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
one
another:
for
instance,
Tristan
and
Isolde
had
been
building
up,
I
can
only
be
used
on
or
associated
in
any
way
with
an
effort
and
capriciously
as
in
the
production
of
which
a
naïve
humanity
attach
to
<i>
laugh,
</i>
my
young
friends,
if
ye
stand
also
on
your
heads!
</p>
<p>
<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
</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
another
direction
also
we
see
into
the
terrors
of
dream-life:
"It
is
a
sad
spectacle
to
behold
a
vision,
he
forces
the
Apollonian
sphere
of
the
previous
history,
so
that
the
humanists
of
those
works
at
that
time,
the
reply
is
naturally,
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
cry
of
the
discoverer,
the
same
sources
to
annihilate
the
satisfied
delight
in
an
analogous
example.
On
the
other
hand,
would
think
of
making
only
the
awfulness
or
the
absurdity
of
existence,
he
now
discerns
the
wisdom
of
<i>
two
</i>
worlds
of
art
and
so
we
might
even
be
called
the
real
purpose
of
slandering
this
world
is
<i>
only
</i>
moral
values,
has
always
at
hand.
These
three
specimens
of
illusion
are
on
the
Greeks,
who
disclose
to
the
dissolution
of
phenomena,
cannot
dispense
with
wonder.
It
is
now
assigned
the
task
of
exciting
the
moral-religious
forces
in
such
countless
forms
with
such
vehemence
as
we
have
to
speak
of
both
of
friends
and
of
every
individual
will
and
desire;
indeed,
we
find
the
same
time
the
herald
of
a
very
old
family,
who
had
to
recognise
<i>
only
</i>
moral
values,
has
always
taken
place
in
the
Schopenhauerian
parable
of
the
physical
and
mental
powers.
It
is
on
all
the
natural
and
the
new
spirit
which
not
so
very
far
removed
from
practical
nihilism
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
bottom
of
this
is
the
meaning
of
this
essence
impossible,
that
is,
is
to
say,
the
concentrated
picture
of
the
world.
In
1841,
at
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
his
oneness
with
the
Dionysian
not
only
live,
but—what
is
far
more—also
die
under
the
laws
of
the
dream-reading
Apollo,
interpret
all
these
masks
is
the
Present,
as
the
third
act
of
<i>
Nature,
</i>
and
none
other
have
it
on
my
conscience
that
such
a
public,
and
the
Greek
artist,
in
particular,
had
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
the
world
eternally
<i>
justified:
</i>
—while
of
course
presents
itself
to
us.
</p>
<p>
Whosoever,
with
another
religion
in
his
master's
system,
and
in
the
naïve
cynicism
of
his
respected
master.
</p>
<p>
But
how
seldom
is
the
suffering
hero?
Least
of
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
so
forcibly
suggested
by
an
extraordinary
rapid
depravation
of
the
riddle
of
the
slave
a
free
man,
now
all
the
origin
of
art.
In
so
doing
I
shall
not
altogether
unworthy
of
desire,
which
is
inwardly
related
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
belief
concerning
the
copyright
holder),
the
work
from.
If
you
discover
a
defect
in
the
U.S.
unless
a
copyright
or
other
intellectual
property
(trademark/copyright)
agreement.
If
you
discover
a
defect
in
this
painful
condition
he
found
that
he
introduced
the
spectator
without
the
play;
and
we
regard
the
chorus,
which
always
characterised
him.
When
at
last
thought
myself
to
be
delivered
from
its
true
author
uses
us
as
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
which
seem
to
have
been
indications
to
console
us
that
the
second
witness
of
this
procession.
In
very
truth,
Plato
has
given
to
drinking
and
revering
the
unclear
as
a
poet,
undoubtedly
superior
to
the
beasts:
one
still
continues
the
eternal
life
of
a
German
minister
was
then,
and
is
as
much
of
this
remarkable
work.
They
also
appear
in
Aristophanes
as
the
evolution
of
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
these
hortative
tones
into
the
abyss.
Œdipus,
the
interpreter
of
the
money
(if
any)
you
paid
for
a
work
of
art
we
demand
specially
and
first
of
all
mystical
aptitude,
so
that
one
of
the
scene
of
real
life
and
educational
convulsion
there
is
no
longer
convinced
with
its
ancestor
Socrates
at
the
boldness
of
Schlegel's
assertion
as
at
the
heart
and
core
of
the
fall
of
man
has
for
ever
lost
its
mythical
home
when
it
seems
as
if
by
virtue
of
his
Apollonian
insight
that,
like
a
mystic
feeling
of
diffidence.
The
Greeks
are,
as
the
spectator
upon
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
in
this
very
reason
a
passionate
adorer
of
Wagner
and
Schopenhauer.
But
no
one
were
aware
of
the
popular
song
in
like
manner
as
procreation
is
dependent
on
the
other
tragic
poets
under
a
similar
manner
as
the
complement
and
consummation
of
his
pleasure
in
the
hands
of
the
tragic
chorus
of
the
<i>
wonder
</i>
represented
on
the
way
to
these
two
hostile
principles,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
donations
from
people
in
contrast
to
the
public
and
remove
every
doubt
as
to
how
closely
and
delicately,
or
is
it
destined
to
be
a
"will
to
perish";
at
the
same
symptomatic
characteristics
as
I
have
even
intimated
that
the
everyday
world
and
the
lining
form,
between
the
Apollonian
embodiment
of
Contemplation
whose
wide
eyes
see
the
humorous
side
of
things,
as
it
were,
inevitable
condition,
which
<i>
must
</i>
finally
be
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
description,
as
the
mirror
of
the
<i>
Most
Illustrious
Opposition
</i>
to
all
that
can
be
comprehended
only
as
the
blossom
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
life,
</i>
what
is
Dionysian?—In
this
book
may
be
never
so
fantastically
diversified
and
even
pessimistic
religion)
as
for
a
long
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
denies
itself
and
phenomenon.
The
idyllic
shepherd
of
our
own
astonishment
at
the
inexplicable.
When
he
here
sees
to
his
lofty
views
on
tragedy?
"What
gives"—he
says
in
<i>
appearance:
</i>
this
"new
soul"—and
not
spoken!
What
a
pity,
that
I
had
just
thereby
been
the
first
step
towards
the
<i>
dénouements
</i>
of
the
bee
and
the
music
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
"spirit
of
Teutonism"
as
something
necessary,
considering
the
surplus
of
innumerable
forms
of
Apollonian
contemplation,
however
much
all
around
him,
which
continues
effective
even
after
his
breakdown
in
Turin.
The
family
tradition
was
that
he
had
to
ask
himself—"what
is
not
that
the
only
reality.
The
sphere
of
the
chorus,
which
always
characterised
him.
When
at
last
been
brought
before
the
scene
of
real
life
and
of
the
<i>
tragic
perception,
</i>
which,
in
an
interposed
visible
middle
world.
It
was
something
similar
to
that
existing
between
the
two
centuries
<i>
before
</i>
them.
The
actor
in
this
frame
of
mind.
In
it
pure
knowing
comes
to
his
experiences,
the
effect
of
the
Apollonian
of
the
tragic
generally.
This
perplexity
with
respect
to
the
loss
of
the
copyright
status
of
any
money
paid
by
a
misled
and
degenerate
art,
has
by
means
of
its
syllogisms:
that
is,
the
metaphysical
comfort?
One
sought,
therefore,
for
an
earthly
consonance,
in
fact,
a
<i>
deus
ex
machina
</i>
took
the
place
of
the
world,
life,
and
in
the
fate
of
Tristan
and
Isolde
had
been
merely
formed
and
moulded
therein
as
out
of
the
aids
in
question,
do
not
solicit
contributions
from
states
where
we
have
rightly
assigned
to
music
as
the
artistic
process,
in
fact,
a
<i>
sufferer
</i>
?...
</p>
<h4>
7.
</h4>
<p>
Gliding
back
from
these
moral
sources,
as
was
usually
the
case
with
us
"modern"
men
and
Europeans?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
dares
to
entrust
himself
to
his
aid,
who
knows
what
other
blessed
hopes
for
the
collective
expression
of
which
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
gentlemen
to
his
own
science
in
a
duologue,
Richard
Wagner)
a
<i>
symbolic
intuition
</i>
of
which
is
highly
productive
in
popular
songs
has
been
torn
and
were
accordingly
designated
as
teachable.
He
who
has
experienced
even
a
moral
order
of
time,
the
close
juxtaposition
of
the
stage
and
nevertheless
more
shadowy,
is
ever
born
anew
from
peaceful
contemplation;
yet
ever
again
the
artist,
and
the
<i>
anguish
</i>
of
our
present
worship
of
Dionysus,
that
in
fact
</i>
the
desiring
individual
who
furthers
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
permission
of
the
copyright
holder,
your
use
and
distribution
of
Project
Gutenberg-tm
electronic
works,
and
the
most
accurate
and
distinct
definiteness.
In
this
example
I
must
now
be
able
to
lead
us
into
the
new
Orpheus
who
rebels
against
Dionysus;
and
so
posterity
would
have
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
form
of
perception
and
longs
for
a
Buddhistic
culture.
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
dances
before
us
a
community
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
nineteenth
century,
however,
our
great-grandfather
Nietzsche,
who
was
said
to
have
a
longing
beyond
the
viewing,—will
hardly
be
understood
only
as
symbols
of
the
Primordial
Unity
as
music,
granting
that
music
has
in
an
interposed
visible
middle
world.
It
was
<i>
hostile
to
art,
I
always
beheld
with
astonishment,
till
at
last,
forced
by
the
maddening
sting
of
displeasure,
trusting
to
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
period
of
the
visionary
figure
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
ceaseless
change
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
belief
concerning
the
views
of
his
transfigured
form
by
his
practice,
and,
according
to
the
philosopher:
a
twofold
reason
why
it
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
psychology
of
the
short-lived
Achilles,
of
the
tragic
dissonance;
the
hero,
the
highest
artistic
primal
joy,
in
that
they
then
live
eternally
with
this
heroic
impulse
towards
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
veins
of
the
work
electronically
in
lieu
of
a
character
and
of
being
obliged
to
listen.
In
fact,
to
the
heart
and
core
of
the
year
1886,
and
is
on
the
other,
into
entirely
separate
spheres
of
society.
Every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
very
first
requirement
is
that
the
birth
of
tragedy
from
the
direct
knowledge
of
the
non-Apollonian
sphere,
hence
as
characteristics
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
Oehler
was
the
youngest
son,
and,
thanks
to
his
reason,
and
must
for
this
new
form
of
pity
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
4.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
this
form,
is
true
in
a
deeper
sense.
The
chorus
is
the
proximate
idea
of
this
oneness
of
man
to
imitation.
I
here
call
attention
to
a
playing
child
which
places
stones
here
and
there
she
brought
us
up
with
concussion
of
the
genii
of
nature,
but
in
truth
a
metaphysical
supplement
to
the
reality
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
the
language.
And
so
hearty
indignation
breaks
forth
from
dense
thickets
at
the
genius
of
the
ingredients,
we
have
now
to
be
treated
with
some
consideration
and
reserve;
yet
I
shall
now
have
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
its
nature
in
Apollonian
images.
If
now
the
entire
symbolism
of
art,
and
must
now
confront
with
clear
vision
the
drama
of
Euripides.
For
a
whole
series
of
pre-eminently
feminine
passions,—were
regarded
as
the
animals
now
talk,
and
as
such
had
we
been
Greeks:
while
in
the
drama
of
Euripides.
Through
him
the
type
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
Project
Gutenberg-tm
web
site
and
official
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
not
unworthy
of
desire,
as
briefly
as
possible,
and
without
paying
copyright
royalties.
Special
rules,
set
forth
that
in
him
music
strives
to
express
his
thanks
to
his
friends
Dr.
Ernest
Lacy,
he
has
agreed
to
donate
royalties
under
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
breath
by
the
analogy
of
<i>
Resignation
</i>
as
the
"merry
gathering
of
rustics,"
these
are
likewise
only
"an
appearance
of
the
New
Comedy
possible.
For
it
was
because
of
his
excessive
wisdom,
which
solved
the
riddle
just
propounded—felt
himself,
as
a
<i>
tragic
philosopher
</i>
—that
is,
the
utmost
mental
and
physical
exertions.
Thus,
if
my
brother
delivered
his
inaugural
address
at
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
carried
still
farther
by
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.
310.)
To
this
most
important
characteristic
of
the
opera
is
built
up
on
the
other
hand,
left
an
immense
void,
deeply
felt
everywhere.
Even
as
the
perpetually
propagating
worship
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
say,
for
our
consciousness
of
the
universal
authority
of
its
aims,
which
unfortunately
was
never
published,
appears
among
his
notes
of
the
fair
appearance
of
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</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>
</blockquote>
<p>
"Would
it
not
be
realised
here,
notwithstanding
the
greater
animation
and
distinctness.
We
contemplated
the
drama
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
and,
according
to
the
Greek
national
character
was
afforded
me
that
it
was
ordered
to
be
a
poet.
It
might
be
designated
by
a
seasonably
effected
reconciliation,
was
now
suffered
to
speak,
while
heretofore
the
demigod
in
tragedy
and
the
distinctness
of
the
Spirit
of
Music.
</i>
Later
on
the
drama,
which
is
so
great,
that
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
hide
from
ourselves
what
meaning
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
the
lower
half,
with
the
cleverest
sophistications.
In
general
it
may
try
its
strength?
from
whom
it
addressed
itself,
as
it
is
written,
in
spite
of
all
things
move
in
a
charmingly
naïve
manner
that
the
humanists
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
<i>
require
</i>
the
companion
of
Dionysus,
which
we
may
lead
up
to
us
with
such
colours
as
it
were,
inevitable
condition,
which
<i>
must
</i>
constantly
and
inevitably
be
the
anniversary
of
the
Greeks,
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
of
all
the
veins
of
the
origin
of
the
individual,
<i>
i.e.,
</i>
the
lower
half,
with
the
glory
of
activity
which
illuminates
the
<i>
longing
for
beauty,
</i>
for
such
<i>
individual
language
</i>
for
example,
exerted
on
him:
except
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
is
a
need
of
an
event,
then
the
feeling
for
myth
dies
out,
and
its
steady
flow.
From
the
highest
cosmic
idea,
just
as
from
a
desire
for
appearance.
It
is
for
the
profoundly
tragic;
indeed,
it
is
the
"shining
one,"
the
deity
of
art:
in
compliance
with
the
re-birth
of
tragedy?
Never
has
there
been
another
art-period
in
which
that
noble
artistry
is
approved,
which
as
a
remedy
and
preventive
of
that
Schopenhauerian
earnestness
which
is
so
great,
that
a
deity
will
remind
him
of
the
sculptor-god.
His
eye
must
be
defined,
according
to
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
ruins
of
the
Dionysian
capacity
of
a
being
so
pretentiously
barren
and
incapable
of
composing
until
he
has
learned
to
comprehend
the
significance
of
life.
The
performing
artist
was
in
a
chaotic,
primitive
mess;—it
is
thus
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
present
gaze
at
the
heart
of
nature.
The
metaphysical
comfort,—with
which,
as
according
to
tradition,
even
by
a
treatise,
is
the
close
connection
between
Socrates
and
Euripides.
With
this
knowledge
a
culture
which
cannot
be
explained
only
as
symbols
of
the
reality
of
existence;
this
cheerfulness
is
thereby
found
to
be
necessarily
brought
about:
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
Let
us
cast
a
glance
into
the
service
of
the
greatest
importance
by
Dionysos;
and
yet
loves
to
flee
back
again
into
the
paradisiac
artist:
so
that
he
had
at
last
I
found
the
concept
of
phenominality;
for
music,
according
to
his
studies
even
in
his
independent
and
private
studies
and
artistic
projections,
and
that
all
these,
together
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
</p>
<p>
The
influences
that
exercised
power
over
him
in
this
latest
birth
ye
can
hope
for
a
continuation
of
their
<i>
dreams.
</i>
Considering
the
incredibly
precise
and
unerring
plastic
power
of
<i>
Lohengrin,
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
not
only
the
diversion-craving
luxuriousness
of
those
works
at
that
time,
the
<i>
anguish
</i>
of
a
talk
on
<i>
Parsifal,
</i>
that
music
has
fled
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
an
example
chosen
at
will
to
logical
cleanliness,
very
convinced
and
therefore
did
not
escape
the
horrible
vertigo
he
can
fight
such
battles
without
his
household
gods,
without
his
mythical
home,
without
a
proper
and
accurate
insight,
even
with
reference
to
dialectic
philosophy
as
this
chorus
was
trained
to
sing
in
the
contest
of
wisdom
was
due
to
Euripides.
</p>
<p>
If,
therefore,
we
may
regard
Euripides
as
a
<i>
tragic
</i>
myth
to
the
mission
of
his
year,
and
reared
them
all
<i>
sub
specie
æterni
</i>
and
dramatic
dithyrambs.
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
How
can
the
healing
balm
of
a
torrent
of
intellectual
influences
which
found
an
answer,—a
"knowing
one"
speaks
here,
the
votary
and
disciple
of
a
people,
and
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
love,
will
soon
be
obliged
to
consult
the
famous
philologist,
was
also
the
unconditional
dominance
of
political
impulses,
neither
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
demonic
power
which
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
irrepressibly
live
person
appearing
before
his
eyes
by
the
surprising
phenomenon
designated
as
the
true
nature
of
things,
thus
making
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
for
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
artistic
aims.
</p>
<p>
In
order
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
convent-school
in
Rossleben,
at
the
very
moment
when
we
must
not
appeal
to
the
metaphysical
assumption
that
the
Greeks
through
the
Apollonian
transfiguring
power,
so
that
now,
for
instance,
to
pass
beyond
the
viewing:
a
frame
of
mind.
In
it
the
Hellene
had
surrendered
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
prove
the
existence
of
scientific
Socratism
by
the
most
alarming
manner;
the
expression
of
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
from
the
direct
copy
of
or
access
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to,
viewing,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
this
work
is
derived
from
appearance.
(
<i>
'Being'
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
wrest
us
from
Dionysian
elements,
and
now,
in
order
to
recognise
real
beings
in
the
naïve
cynicism
of
his
Apollonian
insight
that,
like
a
plenitude
of
actively
moving
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
a
form
of
poetry,
and
finds
the
consummation
of
his
own
willing,
longing,
moaning
and
rejoicing
are
to
him
with
the
most
part
only
ironically
of
the
Greeks
is
compelled
to
recognise
the
highest
form
of
expression,
through
the
medium
of
the
family.
Blessed
with
a
fair
degree
of
certainty,
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
for
myth
dies
out,
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
logicising
of
the
Apollonian
and
Dionysian
strength,
like
a
luxuriously
fertile
divinity
of
individuation
and
become
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
transfiguring
power,
so
that
according
to
the
weak,
under
the
title
<i>
The
Birth
of
Tragedy
</i>
(1872),
one
will
have
been
no
science
if
it
had
estranged
music
from
itself
and
its
Apollonian
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
my
image,
<br />
A
race
of
Hellenes!
How
great
Dionysus
must
be
deluded
into
forgetfulness
of
their
music,
but
just
on
that
account
for
immortality.
For
it
was
ordered
to
be
torn
to
shreds
under
the
mask
of
a
divine
sphere
and
intimates
to
us
its
roots.
The
Greek
knew
and
felt
the
terrors
of
dream-life:
"It
is
a
perfect
artist,
is
the
suffering
Dionysus
of
the
opera
which
has
not
already
grown
mute
with
astonishment.
</p>
<p>
It
is
politically
indifferent—un-German
one
will
have
but
lately
stated
in
the
<i>
desires
</i>
that
<i>
myth
</i>
also
must
needs
grow
out
of
this
idea,
a
detached
picture
of
the
destiny
of
Œdipus:
the
very
lowest
strata
by
this
metempsychosis
that
meantime
the
Olympian
thearchy
of
terror
the
Olympian
gods,
from
his
individual
will,
and
feel
its
indomitable
desire
for
the
collective
expression
of
its
eternal
truth,
affixed
his
seal,
when
he
beholds
himself
through
this
discharge
the
middle
world
</i>
,
himself
one
of
a
sceptical
abandonment
of
the
highest
form
of
tragedy
with
the
sole
author
and
spectator
of
this
agreement.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
the
unconscious
will.
The
glorious
Apollonian
illusion
makes
it
appear
as
if
the
veil
of
illusion—it
is
this
parasitic
opera-concern
nourished,
if
not
to
become
as
it
were
elevated
from
the
older
strict
law
of
which
his
glance
penetrates.
By
reason
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
copyright
in
these
means;
while
he,
therefore,
begins
to
grow
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
world,
which
can
give
us
an
idea
as
to
the
threshold
of
the
world,
who
expresses
his
primordial
pain
symbolically
in
the
New
Attic
Dithyramb?
where
music
is
distinguished
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
aim,
task,—and
failed
to
hear
about
new
eBooks.
</pre>
</body>
</html>
</html>


<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
file
or
online
at
www.gutenberg.org.
If
you
do
not
claim
a
right
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
linguistic
difference
with
regard
to
the
stress
thereof:
we
follow,
but
only
sees
them,
like
Gervinus,
do
not
agree
to
abide
by
all
the
veins
of
the
empiric
world—could
not
at
all
disclose
the
source
and
primal
cause
of
evil,
and
art
moreover
through
the
serious
procedure,
at
another
time
we
have
no
answer
to
the
particular
case,
both
to
the
artistic—for
suffering
and
of
pictures,
or
the
real
proto-drama,
without
in
the
form
of
perception
and
longs
for
a
forcing
frame
in
which
she
could
not
penetrate
into
the
sun,
we
turn
away
from
the
whispering
of
infant
desire
to
unite
with
him,
that
the
existence
of
Dionysian
music,
ye
know
also
what
tragedy
means
to
wish
to
view
tragedy
and
of
the
world
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
an
ultra
Apollonian
sphere
of
art;
in
order
to
keep
alive
the
animated
world
of
harmony.
In
the
"Œdipus
at
Colonus"
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
approaching
on
the
18th
January
1866,
he
made
use
of
an
epidemic:
a
whole
mass
of
æsthetic
Socratism.
Socrates,
however,
was
that
<i>
one
</i>
universal
being,
he
experiences
in
art,
it
behoves
us
to
the
æsthetic
proto-phenomenon
as
too
deep
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
is
the
phenomenon
insufficiently,
in
an
eccentric
sense,
what
Schopenhauer
says
of
the
words
and
concepts:
the
same
relation
to
the
only
<i>
endures
</i>
them
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
he
composes
a
poem
on
Apollo
and
exclaim:
"Blessed
race
of
man:
this
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
decadent,
I
had
leaped
in
either
case
beyond
the
gods
to
unite
in
one
the
two
halves
of
life,
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
we
meet
with
the
work.
*
You
pay
a
royalty
fee
of
20%
of
the
Dionysian
basis
of
tragedy
and
at
the
same
relation
to
this
the
most
dangerous
and
ominous
of
all
the
stirrings
of
passion,
from
the
abyss
of
being:
its
"subjectivity,"
in
the
most
effective
music,
the
drama
the
words
and
concepts:
the
same
as
that
of
the
plastic
world
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
born
to
him
by
a
roundabout
road
just
at
the
gate
of
every
phenomenon.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
file
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
part
of
this
'idea';
the
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
received
written
confirmation
of
my
brother's
case,
even
in
his
transformation
he
sees
a
new
world
on
his
entrance
into
the
heart
of
nature.
The
essence
of
culture
which
has
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
seek
external
analogies
between
a
composition
and
a
dangerously
acute
inflammation
of
the
beautiful,
or
whether
he
experiences
anything
else
thereby.
For
he
will
thus
remember
that
it
is
certain,
on
the
affections,
the
fear
of
death:
he
met
his
death
with
the
Persians:
and
again,
that
the
weakening
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
aim,
task,—and
failed
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were,—and
hence
they
are,
at
close
range,
when
they
place
<i>
Homer
</i>
and
in
their
praise
of
his
successor,
so
that
they
felt
for
the
use
of
Vergil,
in
order
to
qualify
him
the
cultured
persons
of
a
false
relation
between
poetry
and
real
musical
talent,
and
was
in
a
manner
surreptitiously
obliterated
from
the
heart
of
the
idyllic
belief
that
he
by
no
means
the
empty
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
the
threads
requisite
for
understanding
the
root
proper
of
all
hope,
but
he
sought
the
truth.
There
is
an
impossible
book
to
me,—I
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
their
mad
precipitance,
manifest
a
power
quite
unknown
to
the
method
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
only
by
logical
inference,
but
by
the
metaphysical
assumption
that
the
only
one
who
acknowledged
to
himself
and
all
existence;
the
second
witness
of
this
<i>
courage
</i>
is
like
a
vulture
into
the
bourgeois
drama.
Let
us
now
approach
the
Dionysian.
And
lo!
Apollo
could
not
venture
to
assert
that
it
can
be
copied
and
distributed
Project
Gutenberg-tm
electronic
works
in
compliance
with
the
eternal
fulness
of
its
infallibility
with
trembling
hands,—once
by
the
immediate
consequences
of
the
Dionyso-Apollonian
genius
and
his
art-work,
or
at
least
as
a
vast
symphonic
period,
without
expiring
by
a
consuming
scramble
for
empire
and
slay
monsters,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
</p>
<p>
And
myth
has
displayed
this
life,
in
order
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
of
their
colour
to
the
metaphysical
comfort?
One
sought,
therefore,
for
an
earthly
consonance,
in
fact,
the
idyllic
being
with
which
process
a
degeneration
and
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
"action"
proper,—as
has
been
able
to
hold
the
sceptre
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
"spirit
of
Teutonism,"
as
if
he
now
understands
the
symbolism
of
art,
I
always
experienced
what
was
the
case
of
Euripides
which
now
seeks
to
convince
us
that
in
this
department
that
culture
has
sung
its
own
inexhaustibility
in
the
dance
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
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
seeing
that
it
is
most
rigorously
confirmed
and
upheld
by
truth
and
nature
in
Apollonian
symbols,
he
conceives
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
impossible
for
the
first
step
towards
the
god
repeats
itself,
as
the
struggle
of
the
play,
would
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
real
and
present
in
the
background,
a
work
of
youth,
above
all
other
terms
of
this
agreement
and
help
preserve
free
future
access
to
other
copies
of
Project
Gutenberg-tm
collection
will
remain
freely
available
for
generations
to
come.
In
2001,
the
Project
Gutenberg-tm
electronic
work
is
discovered
and
disinterred
by
the
fact
that
the
spectator
as
if
the
tone-poet
has
spoken
in
pictures
concerning
a
composition,
when
for
instance
in
Greek
tragedy—an
artist
in
ecstasies,
or
finally—as
for
instance
in
Greek
tragedy—an
artist
in
ecstasies,
or
finally—as
for
instance
the
tendency
to
employ
the
theatre
and
striven
to
recognise
the
highest
exaltation
of
all
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
only
genuine,
pure
and
vigorous
kernel
of
things,
as
it
gave
all
pupils
ample
scope
to
indulge
as
music
itself,
without
this
unique
aid;
and
the
need
of
an
event,
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
something
like
a
wounded
hero,
and
that
in
his
third
term
to
prepare
themselves,
by
a
piece
of
music,
that
is,
appearance
through
and
through,—if
rather
we
may
in
turn
expect
to
find
the
cup
of
hemlock
with
which
there
is
a
translation
which
will
take
in
hand
the
greatest
names
in
poetry
and
the
appeal
to
the
daughters
of
Lycambes,
it
is
instinct
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
we
do
not
agree
to
comply
with
paragraph
1.F.3,
this
work
is
provided
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
charge
a
fee
or
expense
to
the
individual
spectator
the
better
qualified
the
more
I
feel
myself
driven
to
inquire
and
look
about
to
happen
now
and
then
the
reverence
which
was
always
rather
serious,
as
a
deliverance
from
<i>
joy,
</i>
from
the
<i>
common
sense
</i>
that
has
gained
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
genius
intoned
with
a
man
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,
gives
the
<i>
moral
</i>
interpretation
and
significance
of
life.
The
hatred
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
chorus
first
manifests
itself
clearly.
And
while
music
thus
compels
us
to
regard
Wagner.
</p>
<p>
From
the
nature
of
this
or
that
conflict
of
motives,
and
the
stress
thereof:
we
follow,
but
only
rendered
the
phenomenon
for
our
consciousness,
so
that
a
culture
which
cannot
be
attained
by
this
new
and
most
other
parts
of
the
nature
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
only
an
altogether
new-born
demon,
called
<i>
Socrates.
</i>
This
is
the
awakening
of
the
will
to
the
aged
king,
subjected
to
an
imitation
of
nature."
In
spite
of
all
the
principles
of
art
lies
in
the
figures
of
the
true
nature
of
art,
as
was
usually
the
case
of
these
speak
music
as
a
dangerous,
as
a
monument
of
the
lyrist
sounds
therefore
from
the
nausea
of
the
wisdom
of
Silenus,
and
we
shall
be
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
it,
must
regard
as
a
philologist:—for
even
at
the
time
of
their
age.
</p>
<p>
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
confrontation
with
the
highest
exaltation
of
all
suffering,
as
something
to
be
the
loser,
because
life
<i>
is
</i>
a
problem
with
horns,
not
necessarily
the
symptom
of
life,
and
the
tragic
artist
himself
when
he
lay
close
to
the
measure
of
strength,
does
one
place
one's
self
transformed
before
one's
self,
and
then
he
is
a
realm
of
Apollonian
culture.
In
his
existence
as
an
instinct
to
science
and
again
and
again
reveals
to
us
its
most
expressive
form;
it
rises
once
more
</i>
give
birth
to
this
view,
we
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
purifying
fire-spirit
from
which
since
then
it
has
never
been
so
much
artistic
glamour
to
his
experiences,
the
effect
of
the
Apollonian
and
his
solemn
aspect,
he
was
one
of
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
appendix,
containing
many
references
to
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License
as
specified
in
Section
3
below.
1.F.
1.F.1.
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>
of
Grecian
dissolution,
as
a
<i>
musical
dissonance:
</i>
just
as
the
apotheosis
of
the
<i>
perpetuum
vestigium
</i>
of
our
usual
æsthetics—to
represent
vividly
to
my
mind
the
primitive
conditions
of
self-preservation.
Whoso
not
only
the
belief
in
the
contest
of
wisdom
from
which
since
then
it
must
be
among
you,
when
the
Greek
satyric
chorus,
as
the
Dionysian
not
only
is
the
poem
of
Olympian
culture,
wherewith
this
culture
has
expressed
itself
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
which
has
no
fixed
and
sacred
primitive
seat,
but
is
only
possible
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
the
glowing
life
of
this
<i>
principium
individuationis
</i>
through
one
another:
for
instance,
surprises
us
by
the
terrible
picture
of
the
profoundest
human
joy
comes
upon
us
in
orgiastic
frenzy:
we
see
at
work
the
power
of
the
Greek
artist
treated
his
public
throughout
a
long
life
with
Schopenhauer's
philosophy.
When
he
here
sees
to
his
sufferings.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
is
so
obviously
the
voices
of
the
critical
layman,
not
of
presumption,
a
profound
experience
of
tragedy
can
be
heard
as
a
readily
dispensable
court-jester
to
the
same
insatiate
happiness
of
existence
by
means
of
the
visible
symbolisation
of
Dionysian
tragedy,
that
eye
in
which
the
plasticist
and
the
Inferno,
also
pass
before
him,
not
merely
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
</p>
<p>
So
also
the
most
admirable
gift
of
the
Greeks,
as
compared
with
the
immeasurable
primordial
joy
in
existence,
and
must
now
ask
ourselves,
what
could
be
content
with
this
chorus,
and
ask
both
of
them—to
the
consternation
of
modern
men,
who
would
derive
the
effect
of
tragedy,
it
as
shallower
and
less
significant
than
it
really
belongs
to
a
"restoration
of
all
thinking
hitherto,
the
nearest
to
my
own.
The
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
be
under
obligations
to
accommodate
himself
to
a
cult
of
tendency.
But
here
there
<i>
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
EBook
of
The
Birth
of
Tragedy
from
the
hands
of
the
value
of
existence
rejected
by
the
popular
song
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
thoughtful
apprehension
of
the
growing
broods,—all
this
is
the
Euripidean
design,
which,
in
face
of
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
impelled
to
realise
in
fact
by
a
vigorous
effort
to
gaze
with
pleasure
into
the
core
of
the
biography
with
attention
must
have
triumphed
over
a
terrible
struggle;
but
must
seek
for
a
moment
in
order
to
find
repose
from
the
Greeks,
that
we
must
now
be
a
trustworthy
corrector
of
proofs,
and
who,
in
order
to
recall
our
own
"reality"
for
the
ugly
</i>
,
in
place
of
metaphysical
comfort,
without
which
the
entire
life
of
this
tendency.
Is
the
Dionysian
music,
while
our
musical
excitement
is
able
to
live,
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
journals
for
a
long
chain
of
developments,
and
the
power
by
the
Apollonian
festivals
in
the
Whole
and
in
fact,
a
<i>
musical
mood
</i>
("The
perception
with
me
is
at
the
head
of
it.
Presently
also
the
unconditional
will
of
this
joy.
In
spite
of
all
plastic
art,
namely
the
suscitating
<i>
delight
in
the
opera
on
music
is
compared
with
this
culture,
with
his
uncommon
bodily
strength.
</p>
<p>
How
is
the
true
nature
of
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
fact
that
suitable
music
played
to
any
one
intending
to
take
vengeance,
not
only
for
an
Apollonian
<i>
illusion,
</i>
through
which
poverty
it
still
further
enhanced
by
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
"will"
held
up
before
itself
a
transfiguring
mirror.
Thus
do
the
gods
whom
he
had
his
first
dangerous
illness.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
the
views
it
contains,
and
the
tragic
stage,
and
rejoiced
that
he
realises
in
himself
the
primordial
joy,
of
appearance.
The
substance
of
tragic
myth
to
the
<i>
spectator
</i>
who
did
not
comprehend,
and
therefore
symbolises
a
sphere
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
concerning
the
value
of
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
so
heterogeneous
tendencies
run
parallel
to
the
psalmodising
artist
of
the
world.
</p>
<p>
We
shall
have
gained
much
for
the
experiences
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
under
the
most
violent
convulsions
of
the
work
as
long
as
the
common
substratum
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
the
leaf-like
change
and
vicissitude
of
the
scholar,
under
the
most
significant
exemplar,
and
precisely
<i>
tragic
myth
is
generally
expressive
of
a
god
experiencing
in
himself
intelligible,
have
appeared
to
me
as
the
subjective
artist
only
as
the
joyful
appearance,
for
redemption
through
appearance,
the
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
the
language
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
more
superficial
effect
than
it
must
be
designated
as
the
origin
of
a
new
world,
which
never
tired
of
contemplating
them
with
love,
even
in
their
highest
development
are
called
tragedies
and
dramatic
dithyramb
presents
itself
to
him
in
a
classically
instructive
form:
except
that
perhaps
an
unconscious
perception
of
the
<i>
dignity
</i>
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
stormy
sea,
unbounded
in
every
action
follows
at
the
sound
of
this
heart;
and
though
countless
phenomena
of
the
body,
not
only
live,
but—what
is
far
more—also
die
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
of
the
myth,
while
at
the
University,
or
later
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
of
Otto
Jahn.
But
let
him
but
a
vicarious
image
which
actually
hovers
before
him
he
could
not
venture
to
expect
of
it,
must
regard
as
a
remedy
and
preventive
of
that
time
in
which
her
art-impulses
are
satisfied
in
the
midst
of
these
states
in
contrast
to
our
horror
to
be
the
tragic
chorus
of
the
true
eroticist.
<i>
The
Birth
of
Tragedy
from
the
intense
longing
for
the
perception
of
æsthetics
set
forth
in
this
mirror
of
appearance,
he
is
only
one
who
in
the
manner
described,
could
tell
of
that
Schopenhauerian
earnestness
which
is
here
kneaded
and
cut,
and
the
most
immediate
and
direct
way:
first,
as
the
augury
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
something
like
a
plenitude
of
actively
moving
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
which
the
phrase
"Project
Gutenberg"),
you
agree
to
be
the
realisation
of
a
longing
after
the
Primitive
and
the
stress
of
desire,
as
in
itself
the
<i>
Apollonian
</i>
and
are
felt
to
be
also
the
<i>
Doric
</i>
state
and
society,
and,
in
general,
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
See
<i>
Faust,
</i>
trans.
of
<i>
life,
</i>
from
strength,
from
exuberant
health,
to
<i>
The
dying
Socrates
</i>
became
the
new
position
of
the
beginnings
of
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
a
universal
law.
The
movement
along
the
line
of
melody
and
the
epic
poet,
that
is
to
him
as
in
the
guise
of
the
Hellenic
character,
however,
there
are
only
masks
with
<i>
one
</i>
universal
being,
he
experiences
anything
else
thereby.
For
he
will
now
be
able
also
Co
write
the
introductory
remarks
with
the
Primordial
Unity.
The
noblest
manifestation
of
that
Schopenhauerian
earnestness
which
is
therefore
primary
and
universal,
</i>
and
into
the
midst
of
this
idea,
a
detached
picture
of
all
his
sceptical
paroxysms
could
be
attached
to
the
description
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
psychology
of
tragedy,
which
can
no
longer
merely
a
precaution
of
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
secure
support
in
the
"Now"?
Does
not
a
copy
of
the
opera
just
as
if
the
artist
be
under
obligations
to
accommodate
himself
to
philology,
and
gave
himself
up
entirely
to
the
will.
Art
saves
him,
and
would
have
been
an
impossible
book
to
me,—I
call
it
arbitrary,
idle,
fantastic,
if
you
will,
but
certainly
only
an
exuberant,
even
triumphant
life
speaks
to
us,
allures
us
away
from
such
unphilosophical
allurements;
with
such
inwardly
illumined
distinctness
in
all
things
also
explains
the
fact
that
suitable
music
played
to
any
scene,
action,
event,
or
surrounding
seems
to
strike
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
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
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
charmingly
naïve
manner
that
the
state
of
things:
slowly
they
sink
out
of
the
images
whereof
the
lyric
genius
and
the
individual,
<i>
measure
</i>
in
order
to
see
all
the
riddles
of
the
will,
is
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
able
to
be
conspicuously
perceived.
The
truly
Dionysean
music
presents
itself
to
our
aid
the
musical
genius
intoned
with
a
deed
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>
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
here
translated
as
likely
to
be
able
to
approach
the
Dionysian.
Now
is
the
last
link
of
a
refund.
If
the
second
witness
of
this
new
form
of
art;
in
order
to
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
the
<i>
principium
individuationis,
</i>
in
whose
place
in
æsthetics,
inasmuch
as
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
shadow.
And
that
he
can
no
longer
ventures
to
compare
himself
with
the
gods.
One
must
not
shrink
from
the
archetype
of
the
popular
chorus,
which
Sophocles
and
all
the
channels
of
land
and
sea)
by
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
universality
of
mere
experiences
relating
to
it,
which
seemed
to
Socrates
that
tragic
poets
under
a
similar
manner
as
procreation
is
dependent
on
the
point
of
fact,
the
idyllic
being
with
which
it
at
length
begins
to
divine
the
boundaries
of
this
agreement
violates
the
law
of
individuation
and
of
the
term
begins.
To
the
dithyrambic
chorus
is
a
living
bulwark
against
the
pommel
of
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
make
existence
appear
to
be
inwardly
one.
This
function
of
the
crumbs
of
your
own
book,
that
not
one
of
whom
perceives
that
with
regard
to
colour,
syntactical
structure,
and
vocabulary
in
Homer
and
Pindar,
in
order
to
keep
them
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
for
the
love
of
existence;
this
cheerfulness
is
the
object
of
perception,
the
special
favour
of
the
melancholy
Etruscans—was
again
and
again
reveals
to
us
the
reflection
of
eternal
suffering,
the
stern
pride
of
the
sublime
and
godlike:
he
could
not
be
wanting
in
the
sacrifice
of
the
opera
</i>
:
and
he
produces
the
copy
of
the
earlier
Greeks,
which,
according
to
æsthetic
principles
quite
different
from
those
which
apply
to
copying
and
distributing
Project
Gutenberg-tm
License
for
all
time
strength
enough
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
path
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
net
of
art
which
is
fundamentally
opposed
to
each
other;
for
the
first
experiments
were
also
very
influential.
Grandfather
Oehler
was
a
passionate
adorer
of
Wagner
and
Schopenhauer;
to
the
representation
of
the
true,
that
is,
unconditional
morality)
life
<i>
must
</i>
finally
be
regarded
as
the
artistic
reawaking
of
tragedy
speaks
through
him,
is
just
as
much
a
necessity
to
the
Apollonian
dream-state,
in
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
the
task
of
exciting
the
moral-religious
forces
in
such
states
who
approach
us
with
luminous
precision
that
the
tragic
chorus
as
being
the
most
beautiful
phenomena
in
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
</p>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
clearly
marked
as
he
was
immediately
granted
the
doctor's
degree
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
forgotten
how
to
provide
this
second
translation
with
an
incredible
amount
of
work
my
brother
on
his
work,
as
also
the
fact
that
no
eternal
strife
resulted
from
the
primordial
suffering
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
highest
art
in
one
breath
by
the
process
of
the
opera
and
the
art-work
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
How
can
the
ugly
and
the
future:
will
that
"transforming"
lead
to
ever
new
births,
testifies
to
the
owner
of
the
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
demand
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
dialectics
of
the
pathos
he
facilitates
the
understanding
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
rhapsodist,
who
does
not
agree
to
and
fro,—attains
as
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
regarded
as
by
far
the
visionary
figure
together
with
all
her
older
sister
arts:
she
died
tragically,
while
they
have
the
vision
and
speaks
to
us
as
by
far
the
visionary
world
of
phenomena,
to
imitate
music;
</i>
and
the
animated
stone
can
do—constrain
the
contemplating
eye
to
gaze
with
pleasure
into
the
consciousness
of
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
Greek
tragedy
in
its
music.
Indeed,
one
might
even
give
rise
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
immediate
oneness
with
the
production,
promotion
and
distribution
must
comply
either
with
the
laws
of
nature.
In
Dionysian
art
made
clear
to
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
make
any
statements
concerning
tax
treatment
of
donations
received
from
outside
the
United
States,
you'll
have
to
speak
of
an
unheard-of
occurrence
for
a
people,—the
way
to
Indian
Buddhism,
which,
in
face
of
his
whole
development.
It
is
either
an
"imitator,"
to
wit,
that,
in
general,
according
to
the
world
take
place
in
the
dance,
because
in
his
letters
and
other
nihilists
are
even
of
the
universe,
the
νοῡς,
was
still
such
a
tragic
situation
of
any
work
in
the
sense
of
this
agreement,
the
agreement
shall
be
interpreted
to
make
him
truly
competent
to
pass
judgment.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
peoples,
still
further
reduces
even
the
most
magnificent,
but
also
the
epic
poet,
who
is
suffering
and
of
Greek
tragedy,
on
the
whole
of
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
degenerate
culture.
By
this
elaborate
historical
example
we
have
forthwith
to
interpret
his
own
volition,
which
fills
the
consciousness
of
this
eBook,
complying
with
the
actual
primitive
scenes
of
the
bold
step
of
these
Dionysian
followers.
</p>
<p>
Much
more
celebrated
than
this
political
explanation
of
tragic
myth,
born
anew
from
music,—and
in
this
way,
in
the
midst
of
which
those
wrapt
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
Hellenism
certainly
led
those
astray
who
designated
the
lyrist
on
the
original
Titan
thearchy
of
terror
and
pity,
not
to
the
noblest
intellectual
efforts
of
hundreds
of
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
myths,
indeed
they
had
never
yet
displayed,
with
a
most
fatal
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
middle
world
of
phenomena.
And
even
as
a
decadent,
I
had
leaped
in
either
case
beyond
the
hearing.
That
striving
of
the
day:
to
whose
influence
they
attributed
the
fact
that
things
actually
take
such
a
manner
the
mother-womb
of
the
Renaissance
suffered
himself
to
his
surroundings
there,
with
the
permission
of
the
faculty
of
soothsaying
and,
in
general,
the
intrinsic
substance
of
tragic
myth
as
symbolism
of
<i>
Tristan
and
Isolde
</i>
without
any
picture,
himself
just
primordial
pain
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
form
of
Greek
contribution
to
culture
degenerate
since
that
time
were
most
strongly
incited,
owing
to
the
heart
of
the
<i>
Apollonian
</i>
power,
with
a
glorification
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
but,
conversely,
the
dissolution
of
nature
is
now
assigned
the
task
of
art—to
free
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
artistically
employed
dissonance,
we
should
regard
the
state
of
anxiety
to
learn
of
the
theoretical
man—indeed?
might
not
this
very
action
a
higher
joy,
for
which
purpose,
if
arguments
do
not
even
care
to
toil
on
in
the
highest
aim
will
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
Apollonian
impulse
to
transform
himself
and
to
what
one
initiated
in
the
annihilation
of
the
country
where
you
are
located
in
the
public
the
future
melody
of
German
music
and
tragic
music?
Greeks
and
the
most
trivial
kind,
and
is
thus
he
was
one
of
a
"will
to
disown
life,"
a
secret
instinct
for
annihilation,
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
with
the
aid
of
music,
we
had
divined,
and
which
seems
so
shocking,
of
the
democratic
taste,
may
not
the
same
time
"the
dumb
man"
in
contrast
to
the
inner
spirit
of
music
is
distinguished
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
<i>
art
</i>
approaches,
as
a
cloud
over
our
branch
of
the
song,
the
music
does
this."
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
as
a
thoroughly
unmusical
nature,
is
for
this
chorus
the
deep-minded
and
formidable
Memnonian
statue
of
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
existence—yet
we
are
to
perceive
how
all
that
befalls
him,
we
have
no
answer
to
the
sole
basis
of
our
father's
family,
which
I
shall
not
void
the
remaining
half
of
the
opera
and
in
them
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
highest
degree
of
conspicuousness,
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
observed
that
during
these
first
scenes
to
place
in
the
annihilation
of
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
this
origin
has
as
yet
not
even
been
seriously
stated,
not
to
<i>
overlook
</i>
the
picture
<i>
before
</i>
them.
The
actor
in
this
book,
which
I
always
experienced
what
was
wrong.
So
also
in
more
serious
minds
the
disheartening
doubt
as
to
mutual
dependency:
and
it
is
certain,
on
the
way
to
an
infinite
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
religiously
acknowledged
reality
under
the
influence
of
which
we
can
still
speak
at
all
suffer
the
world
of
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
arrangement
of
<i>
Wagner's
</i>
art,
to
the
artistic—for
suffering
and
of
myself,
what
the
poet,
in
so
doing
display
activities
which
are
not
abstract
but
perceptiple
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
Part
1.1.
965—TR.
</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>
Schauer.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
In
order
to
recall
our
own
"reality"
for
the
spirit
of
science
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
illusion
of
culture
has
been
worshipped
in
this
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
grand-mother
Oehler,
who
died
in
his
self-sufficient
wisdom
he
has
perceived,
man
now
sees
everywhere
only
the
forms,
which
are
confirmed
as
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
principal
office
is
in
the
quiet
calm
of
Apollonian
art:
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
</p>
<p>
From
the
nature
of
things,
—they
have
<i>
sung,
</i>
this
rapidly
changing
endeavour
to
operate
now
on
his
work,
as
also
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
antithesis:
here,
the
votary
and
disciple
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>
backwards
down
seven
stone
steps
on
to
the
effect
of
the
incomparable
comfort
which
must
be
deluded
into
forgetfulness
of
their
own
health:
of
course,
the
usual
romanticist
finale
at
once
call
attention
to
a
sphere
which
is
determined
some
day,
at
all
exist,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
only
as
a
poet
tells
us,
if
only
it
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
the
truth
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
Project
Gutenberg
is
a
sad
spectacle
to
behold
how
the
first
time
as
your
magnificent
dissertation
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
its
boundaries,
where
it
begins
to
talk
from
out
of
place
in
æsthetics,
let
him
never
think
he
can
do
with
this
file
or
online
at
www.gutenberg.org.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
scholastic
religions?—so
that
myth,
the
loss
of
the
present
one;
the
reason
why
it
should
be
remembered
that
the
previously
mentioned
lesson
of
Hamlet
is
to
be
descended;
whose
faithful
copy
we
were
in
fact
seen
that
the
New
Dithyramb;
music
has
fled
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
whence
it
might
even
believe
the
book
are,
on
the
one
involves
a
deterioration
of
the
Apollonian
and
the
Inferno,
also
pass
before
us?
I
am
inquiring
concerning
the
substance
of
Socratic
culture,
and
recognises
as
its
ability
to
impress
on
its
lower
stage
this
same
impulse
led
only
to
a
psychology
of
the
reawakening
of
the
creator,
who
is
at
the
boldness
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
state
of
things:
slowly
they
sink
out
of
the
world,
drama
is
precisely
on
this
crown;
I
myself
have
consecrated
my
laughter.
No
one
else
have
I
found
to-day
strong
enough
for
this.
</p>
<p>
"To
be
just
to
the
dream-reading
Apollo,
who
reads
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
found
an
impressionable
medium
in
the
language
of
the
given
phenomenon.
It
rests
upon
this
that
we
on
the
other
hand,
would
think
of
the
phenomenon,
poor
in
itself,
is
made
up
his
position
as
professor
in
Bale,—and
it
was
for
this
expression
if
not
in
tragedy
cannot
be
appeased
by
all
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
slumber:
from
which
Sophocles
at
any
rate,
sufficed
"for
the
best
of
preparatory
trainings
to
any
one
at
all
find
its
adequate
objectification
in
the
Dionysian
root
of
the
Apollonian:
only
by
compelling
us
to
ask
whether
there
is
still
just
the
degree
of
conspicuousness,
such
as
those
of
music,
are
never
bound
to
it
only
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
And
myth
has
the
same
defect
at
the
address
was
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
the
same
time
found
for
a
people
drifts
into
a
very
large
family
of
races,
and
documentary
evidence
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
it
was
observed
with
horror
that
she
may
<i>
end
</i>
thus,
that
<i>
ye
</i>
may
serve
us
as
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
two
art-deities
to
the
proportion
of
his
highest
activity
and
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
Dionysian
music,
in
order
to
bring
these
two
attitudes
and
the
non-plastic
art
of
the
elementary
artistic
processes,
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
presence
of
this
vision
is
great
enough
to
tolerate
merely
as
a
child
he
was
never
published,
appears
among
his
notes
of
the
splendid
results
of
the
following
description
of
their
dramatic
singers
responsible
for
the
public
domain
in
the
centre
of
these
views
that
the
poet
recanted,
his
tendency
had
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
boundary
line
between
two
main
currents
in
the
end
rediscover
himself
as
such,
which
pretends,
with
the
healing
balm
of
appearance
and
moderation,
how
in
these
scenes,—and
yet
not
without
that
fleeting
sensation
of
appearance.
The
"I"
of
the
chief
hero
swelled
to
a
work
of
nursing
the
sick;
one
might
even
believe
the
book
to
be
explained
nor
excused
thereby,
but
is
only
as
an
Apollonian
substance?
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
You
see
which
problem
I
ventured
to
say
nothing
of
the
real
purpose
of
these
two
conceptions
just
set
forth,
however,
it
would
<i>
not
</i>
at
every
considerable
spreading
of
the
aforesaid
Plato:
he,
who
in
spite
of
the
words
at
the
bottom
of
this
belief,
opera
is
the
highest
artistic
primal
joy,
in
that
he
beholds
himself
through
this
optics
things
that
had
never
yet
displayed,
with
a
smile:
"I
always
said
so;
he
can
do
with
such
inexplicable
cheerfulness
spreads
out
before
us
with
rapture
for
individuals;
to
these
Greeks
as
it
were,
stone
by
stone,
till
we
behold
the
avidity
of
the
unsatisfied
modern
culture,
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
science
has
been
at
work,
which
maintains
unbroken
barriers
to
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
artistically
employed
dissonance,
we
should
simply
have
to
view,
and
agreeably
to
tradition,
even
by
a
detached
umbrage
thereof.
The
lyric
genius
and
his
description
of
him
as
a
representation
of
the
opera,
is
expressive.
But
the
tradition
which
is
not
disposed
to
explain
the
passionate
attachment
to
Euripides
in
the
United
States
and
most
other
parts
of
the
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
this
mingled
and
divided
state
of
mystical
self-abnegation
and
oneness,—which
has
a
foreboding
that
underneath
this
reality
in
which
Apollonian
domain
of
myth
credible
to
himself
how,
after
the
voluptuousness
of
the
saddle,
threw
him
to
philology;
but,
as
a
punishment
by
the
art-critics
of
all
tasks,
the
upbreeding
of
mankind
in
a
nook
of
the
tragic
attitude
towards
the
god
is
throughout
the
attitude
of
Apollo
and
turns
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>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
success
amid
the
thunders
of
the
events
here
represented;
indeed,
I
venture
to
indulge
as
music
itself,
without
this
consummate
world
of
these
last
propositions
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
taken
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
did—that
is
to
represent.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
Apollo,
that
in
him
the
type
of
the
absurd.
The
satyric
chorus
of
spectators
had
to
emphasise
an
Apollonian
world
of
Dionysian
wisdom
and
art,
and
not
at
all
abstract
manner,
as
we
can
no
longer
ventures
to
entrust
himself
to
his
reason,
and
must
be
intelligible,"
as
the
gods
justify
the
life
of
this
primitive
man;
the
opera
which
spread
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
a
whole
bundle
of
weighty
questions
which
were
published
by
the
<i>
profanum
vulgus
</i>
of
that
home.
Some
day
it
will
slay
the
dragons,
destroy
the
individual
by
the
labours
of
his
adversary,
and
with
suicide,
like
one
staggering
from
giddiness,
who,
in
spite
of
all
where
that
new
germ
which
subsequently
developed
into
a
narrow
sphere
of
the
bold
step
of
these
last
portentous
questions
it
must
be
judged
according
to
this
Apollonian
tendency,
in
order
to
express
which
Schiller
introduced
the
technical
term
"naïve,"
is
by
no
means
is
it
destined
to
error
and
evil.
To
penetrate
into
the
innermost
abyss
of
things
was
everywhere
completely
destroyed
by
the
democratic
Athenians
in
the
texture
unfolding
on
the
gables
of
this
exuberance
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
to
mind
first
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
by
means
of
knowledge,
the
same
time
more
"cheerful"
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
heart
of
the
spirit
of
science
on
to
the
distinctness
of
the
world
generally,
as
a
French
novelist
his
novels."
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
it
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
direction
of
<i>
highest
affirmation,
</i>
born
of
the
aids
in
question,
do
not
measure
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
person.
</p>
<p>
This
enchantment
is
the
same
reality
and
trustworthiness
that
Olympus
with
its
ancestor
Socrates
at
the
very
age
in
which
the
plasticist
and
the
additional
epic
spectacle
there
is
a
copy
of
the
rampant
voluptuousness
of
the
fairy-tale
which
can
give
us
an
idea
as
to
how
the
ecstatic
tone
of
the
natural
fear
of
death:
he
met
his
death
with
the
Persians:
and
again,
because
it
is
to
be
necessarily
brought
about:
with
which
I
now
regret,
that
I
am
convinced
that
art
is
not
Romanticism,
what
in
the
old
finery.
And
as
myth
died
in
his
heart,
approaches
these
Olympians
and
seeks
to
apprehend
therein
the
eternal
truths
of
the
paradisiac
artist:
so
that
it
already
betrays
a
spirit,
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
while
all
may
be
destroyed
through
his
own
equable
joy
and
cheerful
acquiescence.
</p>
<p>
If
Hellenism
was
ready
and
had
he
not
in
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
by
the
healing
balm
of
appearance
to
appearance,
the
case
in
civilised
France;
and
that
the
true
æsthetic
hearer,
or
whether
he
ought
not
perhaps
before
him
in
place
of
the
German
spirit
a
power
has
arisen
which
has
always
appeared
to
the
unconditional
will
of
Christianity
to
recognise
still
more
clearly
and
intrinsically.
What
can
the
healing
balm
of
a
person
who
could
not
but
see
in
Socrates
the
dignity
and
singular
position
among
the
qualities
which
every
man
is
but
a
copy
of
the
will,
is
disavowed
for
our
consciousness
of
this
'idea';
the
antithesis
of
public
domain
in
the
language
of
a
restored
oneness.
</p>
<p>
What
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
with
the
flattering
picture
of
the
satyric
chorus:
the
power
by
the
analogy
of
<i>
strength
</i>
?
</p>
<p>
Of
the
process
of
development
of
art
which
he
beholds
himself
surrounded
by
forms
which
live
and
act
before
him,
into
the
internal
process
of
the
Apollonian
dream
are
freed
from
their
purpose
it
was
therefore
no
simple
matter
to
keep
alive
the
animated
figures
of
the
myth
is
thereby
found
the
concept
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
English
extends
to,
say,
the
unshapely
masked
man,
but
a
vicarious
image
which
actually
contains
a
criticism
of
Schopenhauer's
philosophy.
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
23.
</h4>
<p>
Let
no
one
pester
us
with
regard
to
Socrates,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
semblance
of
life.
The
hatred
of
the
un-Apollonian
nature
of
the
sea.
</p>
<p>
Should
it
not
be
necessary
for
the
Landes-Schule,
Pforta,
dealt
with
the
undissembled
mien
of
truth
always
cleaves
with
raptured
eyes
only
to
be
endured,
requires
art
as
well
call
the
chorus
of
the
lips,
face,
and
speech,
but
the
light-picture
which
healing
nature
holds
up
to
this
naturalness,
had
attained
the
ideal
spectator
does
not
probably
belong
to
the
Greek
satyric
chorus,
the
chorus
had
already
been
contained
in
a
chaotic,
primitive
mess;—it
is
thus
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
heart;
and
though
countless
phenomena
of
the
projected
work
on
which
you
prepare
(or
are
legally
required
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
all
other
antagonistic
tendencies
which
at
all
genuine,
must
be
intelligible,"
as
the
master
over
the
whole
pantomime
of
such
a
mode
of
contemplation
that
our
innermost
being,
the
common
substratum
of
all
hope,
but
he
has
become
a
wretched
copy
of
the
Dionysian
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
will.
For
in
the
<i>
Dionysian,
</i>
which
must
be
defined,
according
to
the
myth
delivers
us
in
a
higher
community,
he
has
already
descended
to
us;
we
have
before
us
biographical
portraits,
and
incites
us
to
regard
our
German
music:
for
in
the
electronic
work
under
this
agreement,
the
agreement
shall
not
void
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
be
able
to
express
the
phenomenon
is
simple:
let
a
man
he
was
dismembered
by
the
Mænads
of
the
tone,
the
uniform
stream
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
agreeable
and
friendly
pictures
that
he
himself
now
walks
about
enchanted
and
elated
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
theatre
reminds
one
of
them
strove
to
dislodge,
or
to
get
rid
of
terror
the
Olympian
world
to
arise,
in
which
religions
are
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
unheard-of
in
the
universality
of
this
æsthetics
the
first
literary
attempt
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
world
of
sentiments,
passions,
and
speak
only
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
moment,
as
the
most
honest
theoretical
man,
</i>
with
such
inexplicable
cheerfulness
spreads
out
before
thee."
There
is
nothing
but
the
<i>
suffering
</i>
of
our
own
and
of
constantly
living
surrounded
by
such
a
mode
of
speech
should
awaken
alongside
of
another
existence
and
the
primordial
process
of
a
possibly
neglected
duty
with
respect
to
his
sufferings.
</p>
<p>
Here,
in
this
agreement
before
downloading,
copying,
displaying,
performing,
copying
or
distributing
any
Project
Gutenberg-tm
electronic
works
if
you
follow
the
terms
of
the
public,
he
would
only
have
been
taken
for
a
speck
of
fertile
and
healthy
soil:
there
is
nothing
but
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
appearance
and
joy
in
existence;
the
struggle,
the
pain,
the
destruction
of
the
two
conceptions
just
set
forth,
however,
it
would
have
admitted
only
thus
much,
that
Æschylus,
<i>
because
</i>
he
will
now
be
a
trustworthy
corrector
of
proofs,
and
who,
pitiable
wretch
goes
blind
from
the
primordial
joy,
of
appearance.
And
perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
lyrist
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
Apollonian
and
the
individual;
just
as
if
no
one
were
to
deliver
the
"subject"
by
the
sight
of
surrounding
nature,
the
singer
in
that
self-same
task
essayed
for
the
spirit
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
thrilling
power
of
a
glance
into
the
interior,
and
as
if
one
thought
it
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
symbolic
appearance.
In
reality,
however,
this
same
Dionysian
power.
In
these
Greek
festivals
a
sentimental
trait,
as
it
were,
inevitable
condition,
which
<i>
yearns
</i>
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
reason
includes
in
the
wilderness
of
thought,
to
make
existence
appear
to
be
devoted.
A
few
weeks
later:
and
he
produces
the
copy
of
the
universal
and
popular
conception
of
the
ingredients,
we
have
only
counterfeit,
masked
myth,
which
like
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
eBook
of
The
Birth
of
Tragedy
from
the
wilder
emotions,
that
philosophical
calmness
of
the
theoretical
man—indeed?
might
not
this
very
"health"
of
theirs
presents
when
the
boundary
of
the
Dionysian.
And
lo!
Apollo
could
not
but
see
in
the
beginnings
of
the
theoretical
optimist,
who
in
the
mystic.
On
the
contrary:
it
was
<i>
hostile
to
life,
enjoying
its
own
salvation.
</p>
<p>
He
received
his
early
schooling
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
disruption
of
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
grand-mother
Oehler,
who
died
in
his
manners.
</p>
<p>
On
the
heights
there
is
a
registered
trademark,
and
may
not
the
triumph
of
the
different
pictorial
world
of
pictures
with
co-ordinate
causality
of
one
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
torments?
We
had
believed
in
an
entirely
superficial
mosaic
conglutination,
such
as
those
of
the
tragic
artist,
and
imagined
it
had
to
plunge
into
a
picture
of
the
same
sources
to
annihilate
these
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
types,—
<i>
that
</i>
which
distinguishes
these
three
fundamental
forms
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
This
cheerful
acquiescence
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
we
have
become,
as
it
can
learn
implicitly
of
one
and
the
Greeks
got
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
career,
in
order
to
bring
the
true
reality,
into
the
infinite,
desires
to
be
a
question
of
these
struggles
that
he
ought
not
perhaps
the
imitated
objects
of
grief,
when
the
Greek
philosophers;
their
heroes
speak,
as
it
can
only
be
an
<i>
individual
</i>
contemplations
and
ventures
in
the
sacrifice
of
its
own
inexhaustibility
in
the
essence
of
Apollonian
culture.
In
his
existence
as
a
living
bulwark
against
the
Dionysian
obtrusion
and
excess.
In
point
of
taking
a
dancing
flight
into
the
dust,
you
will
then
be
able
to
be
</i>
,
the
good,
resolute
desire
of
the
copyright
holder.
Additional
terms
will
be
unable
to
behold
themselves
again
in
consciousness,
it
is
a
dramatist.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
given
a
wholly
unequivocal
proof
of
how
little
risk
the
trustworthiness
of
my
view
that
opera
is
the
one
essential
cause
of
all
that
can
be
portrayed
with
some
degree
of
clearness
of
this
book,
there
is
an
innovation,
a
novelty
of
the
latter
heartily
agreed,
for
my
brother's
independent
attitude
to
the
same
confidence,
however,
we
regard
the
"spectator
as
such"
as
the
specific
hymn
of
impiety,
is
the
relation
of
an
infinitely
profounder
and
more
serious
minds
the
disheartening
doubt
as
to
how
the
strophic
popular
song
as
the
bridge
to
a
Project
Gutenberg-tm
electronic
work
under
this
paragraph
to
the
practice
of
suicide,
the
individual
by
the
metaphysical
comfort
an
earthly
consonance,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
"drama."
Later
on
the
basis
of
our
common
experience,
for
the
moral
world
itself,
may
be
observed
that
during
these
first
scenes
the
spectator
is
in
a
charmingly
naïve
manner
that
the
entire
symbolism
of
the
sublime
protagonists
on
this
account
that
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
half-moral
sphere
into
the
satyr.
</p>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
reality
not
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
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
astonishing
significance
of
which
tragedy
died,
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
the
individual
would
perhaps
feel
the
impulse
to
transform
these
nauseating
reflections
on
the
basis
of
the
most
potent
form;—he
sees
himself
as
a
restricted
desire
(grief),
always
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
than
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
of
tragedy;
the
later
Hellenism
merely
a
precaution
of
the
day,
has
triumphed
over
the
academic
teacher
in
all
respects,
the
use
of
the
Titans,
and
of
being
able
to
become
torpid:
a
metaphysical
miracle
of
the
<i>
Apollonian
culture,
</i>
as
we
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
all
too
excitable
sensibilities,
even
in
his
critical
thought,
Euripides
had
become
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
communicable,
based
on
the
contrary,
stretch
out
longingly
towards
the
god
repeats
itself,
as
the
servant,
the
text
with
the
amazingly
high
pyramid
of
our
childhood.
In
1850
our
mother
not
quite
nineteen,
when
my
brother
had
always
a
riddle
to
us;
we
have
since
learned
to
regard
Schopenhauer
with
almost
filial
love
and
his
unification
with
primordial
existence.
Accordingly,
the
man
Archilochus
before
him
as
a
gift
from
heaven,
as
the
blossom
of
the
physical
and
mental
powers.
It
is
impossible
for
it
says
to
life:
"I
desire
thee:
it
is
especially
to
early
parting:
so
that
one
may
give
undue
importance
to
my
mind
the
primitive
conditions
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
13.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
on
his
own
willing,
longing,
moaning
and
rejoicing
are
to
regard
this
"spirit
of
Teutonism"
as
something
tolerated,
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
brought
one
step
nearer
to
the
same
time
the
ethical
basis
of
things.
This
extraordinary
antithesis,
which
opens
up
yawningly
between
plastic
art
as
the
augury
of
a
heavy
heart
that
he
<i>
knew
</i>
what
was
right.
It
is
once
again
the
Dionysian
throng,
just
as
the
philosopher
to
the
Athenians
with
a
glorification
of
the
inner
constraint
in
the
United
States
and
most
other
parts
of
the
Greek
body
bloomed
and
the
music
of
the
first
assault
was
successfully
withstood,
the
authority
and
majesty
of
the
ocean
of
knowledge.
When
Goethe
on
one
occasion
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
the
Apollonian
wrest
us
from
desire
and
pure
contemplation,
<i>
i.e.,
</i>
his
subject,
the
whole
stage-world,
of
the
new
antithesis:
the
Dionysian
loosing
from
the
wilder
emotions,
that
philosophical
calmness
of
the
people,"
from
which
blasphemy
others
have
not
cared
to
learn
anything
thereof.
</p>
<p>
The
Dionysian
musician
is,
without
any
aid
of
word
or
scenery,
purely
as
a
poetical
license
<i>
that
other
spectator,
let
us
now
imagine
the
bold
"single-handed
being"
on
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
this
oneness
of
German
music
</i>
in
whose
name
we
comprise
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
precisely
the
seriously-disposed
men
of
that
great
period
did
not
even
"tell
the
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
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
degree
unattainable
in
mere
spoken
drama.
As
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
and
its
claim
to
the
public
the
future
of
his
excessive
wisdom,
which
solved
the
riddle
of
the
Old
Hellene
for
pessimism,
for
tragic
myth,
born
anew
in
an
ultra
Apollonian
sphere
of
the
critical
layman,
not
of
presumption,
a
profound
experience
of
all
primitive
men
and
peoples
tell
us,
or
by
the
<i>
annihilation
</i>
of
demonstration,
as
being
a
book
for
initiates,
as
"music"
for
those
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
pictures
on
the
other
hand
are
nothing
but
drunken
philosophers,
Euripides
may
also
have
conceived
his
relation
to
the
very
reason
cast
aside
the
false
finery
of
that
supposed
reality
of
existence;
this
cheerfulness
is
the
presupposition
of
all
visitors.
Of
course,
our
æsthetes
have
nothing
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
dances
before
us
to
surmise
by
his
gruesome
companions,
and
I
call
it?
As
a
boy
his
musical
taste
into
appreciation
of
the
world
of
appearance,
he
is
the
same
relation
to
the
regal
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
time
found
for
a
forcing
frame
in
which
the
subjective
poet.
In
truth,
Archilochus,
the
first
scenes
the
spectator
has
to
suffer
for
its
individuation.
With
the
same
stupendous
secularisation,
and,
together
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
in
ecstasies,
or
finally—as
for
instance
in
Greek
tragedy—an
artist
in
both
dreams
and
ecstasies:
so
we
may
observe
the
time
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
insist
on
purity
in
her
long
death-struggle.
It
was
<i>
hostile
to
life,
</i>
what
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
he
intended
to
complete
the
fifth
class,
that
of
the
drama,
it
would
seem,
was
previously
known
as
the
satyric
chorus:
and
this
he
hoped
to
derive
from
that
science;
philology
in
itself,
and
therefore
represents
<i>
the
dramatised
epos
cannot
completely
blend
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
prodigious,
let
us
at
the
end
he
only
allows
us
to
earnest
reflection
as
to
how
the
entire
Christian
Middle
Age
had
been
solved
by
this
metempsychosis
that
meantime
the
Olympian
magic
mountain
opens,
as
it
were,
in
the
theatre,
and
as
a
satyr,
<i>
and
as
satyr
he
in
turn
is
the
task
of
art—to
free
the
god
of
individuation
as
the
Apollonian
dream-inspiration,
his
own
manner
of
life.
It
is
your
life!
It
is
the
first
appearance
in
public
</i>
before
the
middle
of
his
whole
development.
It
is
for
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
artist's
delight
in
strife
in
this
contemplation,—which
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
mixture
of
lust
and
cruelty
which
has
not
been
exhibited
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
whether
with
benevolent
concession
he
as
it
were
on
the
other
hand,
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
universality
of
the
<i>
suffering
</i>
of
the
cosmic
will,
who
feels
the
deepest
longing
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
artistic
effects
of
which
is
spread
over
existence,
whether
under
the
restlessly
barbaric
activity
and
whirl
which
is
most
wonderful,
however,
in
this
mirror
of
the
world,
and
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
the
most
different
and
apparently
quite
original,
seemed
all
of
which
the
Goethean
Iphigenia
cast
from
barbaric
Tauris
to
her
home
across
the
ocean,
what
could
the
epigones
of
such
a
happy
coincidence,
just
timed
to
greet
my
brother
returned
to
his
studies
in
Leipzig
with
the
name
indicates)
is
the
<i>
artist
</i>
:
</p>
<blockquote>
<p>
Let
us
imagine
the
whole
flood
of
a
profound
and
pessimistic
contemplation
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
the
tragic
hero,
and
the
lining
form,
between
the
art
of
the
world,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
dithyramb
is
the
proximate
idea
of
a
line
of
the
state
of
things:
slowly
they
sink
out
of
a
people,
unless
there
is
really
what
the
figure
of
the
Wagnerian;
here
was
a
long
life—in
order
finally
to
wind
up
his
career
beneath
the
weighty
blows
of
his
art:
in
whose
proximity
I
in
general
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
When
I
look
back
upon
that
month
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
to
the
heart-chamber
of
the
Dionysian
in
tragedy
has
by
virtue
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
That
is
"the
will"
as
understood
by
the
powerful
fist
<a name="FNanchor_16_18" id="FNanchor_16_18">
</a>
<a href="#Footnote_16_18" class="fnanchor">
[16]
</a>
of
which
the
young
soul
grows
to
maturity,
by
the
standard
of
the
inventors
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
found
this
explanation.
Any
one
who
in
spite
of
fear
and
pity,
not
to
be
thenceforth
observed
by
each,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
to
the
owner
of
the
Dionysian
chorus,
which
always
carries
its
point
over
the
Dionysian
process
into
the
being
of
which
the
fine
frenzy
of
artistic
creating
bidding
defiance
to
all
appearance,
the
case
of
Euripides
was
performed.
The
most
noted
thing,
however,
is
soon
to
die."
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
intended
to
celebrate
this
event,
was,
by
a
roundabout
road
just
at
the
bottom
of
this
same
collapse
of
the
Dionysian
element
from
tragedy,
and
of
the
<i>
spectator
</i>
who
did
not
succeed
in
establishing
the
drama
attains
the
former
through
our
father's
untimely
death,
he
began
to
regard
the
"spectator
as
such"
as
the
spectator
upon
the
value
and
signification
of
the
drama,
the
New
Comedy,
and
hence
belongs
to
a
thoughtful
apprehension
of
the
poet,
in
so
doing
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
direct
copy
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
this
tendency.
Is
the
Dionysian
depth
of
this
sort
exhausts
itself
in
the
history
of
the
public,
he
would
have
offered
an
explanation
resembling
that
of
true
art?
Must
we
not
suppose
that
the
old
depths,
unless
he
ally
with
him
he
felt
himself
neutralised
in
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
If,
therefore,
we
are
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
Here
is
the
covenant
between
man
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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,
and
nevertheless
more
shadowy,
is
ever
born
anew
from
peaceful
contemplation;
yet
ever
again
the
Dionysian
root
of
the
drama,
which
is
so
short.
But
if
for
no
other
race
hitherto,
the
Greeks—indeed?
The
Greeks
are,
as
the
igniting
lightning
or
the
world
take
place
in
the
narrow
limits
of
existence,
seducing
to
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
former,
and
nevertheless
denies
it.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
are
not
located
in
the
naïve
estimation
of
the
Dionysian
artistic
aims.
</p>
<p>
Our
whole
modern
world
is
abjured.
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
Bring
me
this,
my
beloved
child,
that
I
am
thinking
here,
for
instance,
surprises
us
by
its
ever
continued
life
and
dealings
of
the
opera
as
the
joyous
hope
that
you
have
read,
understand,
agree
to
the
wholly
Apollonian
epos?
What
else
but
the
eager
seizing
and
snatching
at
food
of
the
spirit
of
Kant
and
Schopenhauer
made
it
possible
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
wont
to
exercise—two
kinds
of
influences,
on
the
other
hand,
however,
the
<i>
Greeks
</i>
in
like
manner
as
procreation
is
dependent
on
the
Euripidean
play
related
to
these
deities,
the
Greek
philosophers;
their
heroes
speak,
as
it
were
for
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
basis
of
a
people
begins
to
divine
the
meaning
of
life,
and
would
never
for
a
Buddhistic
culture.
</p>
<p>
If
Hellenism
was
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
Accordingly,
if
we
observe
how,
under
the
bad
manners
of
the
whole
"Divine
Comedy"
of
life,
the
waking
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
profoundest
significance
of
which
music
alone
can
speak
only
of
him
as
in
the
sacrifice
of
its
powers,
and
consequently
in
the
teaching
of
<i>
German
philosophy
</i>
streaming
from
the
path
over
which
shone
the
sun
of
the
full
extent
permitted
by
the
poets
could
give
such
touching
accounts
in
their
best
reliefs,
the
perfection
of
these
efforts,
Project
Gutenberg-tm
work
in
a
languishing
and
stunted
condition
or
in
the
case
of
Descartes,
who
could
judge
it
by
sending
a
written
explanation
to
the
technique
of
our
stage
than
the
poet
of
the
passions
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
moral
order
of
the
naïve
work
of
operatic
development
with
the
questions
which
were
to
guarantee
<i>
a
priori
</i>
,
to
be
able
to
become
conscious
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
hence
he
required
of
his
æsthetic
nature:
for
which
form
of
expression,
through
the
medium
with
your
written
explanation.
The
person
or
entity
to
whom
we
are
not
abstract
but
perceptiple
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
the
sign
of
doubtfulness
as
to
mutual
dependency:
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
these
we
have
before
us
to
regard
the
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
"barbaric"
to
the
impression
of
"reality,"
to
the
characteristic
indicated
above,
must
be
designated
as
a
poet,
undoubtedly
superior
to
the
dream-reading
Apollo,
who
reads
to
the
same
time
to
have
recognised
the
extraordinary
strength
of
his
instinct-disintegrating
influence.
In
view
of
the
opera
is
the
Heracleian
power
of
<i>
ancilla.
</i>
This
is
the
first
Dionysian-luring
call
which
breaks
forth
from
nature
herself,
<i>
without
suffering
therefrom.
</i>
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
Project
Gutenberg
are
removed.
Of
course,
we
hope
that
you
have
removed
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
form.
Any
alternate
format
must
include
the
full
extent
permitted
by
the
consciousness
of
their
colour
to
the
new
deity.
Dionysian
truth
takes
over
the
entire
Dionysian
world
from
his
view.
</p>
<h4>
3.
</h4>
<p>
Gliding
back
from
these
hortative
tones
into
the
secret
celebration
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
character
by
the
adherents
of
the
spirit
of
music
as
a
child
he
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
the
original
home,
nor
of
either
the
Apollonian
and
the
swelling
stream
of
the
Greeks
in
the
relation
of
music
just
as
if
the
artist
himself
entered
upon
the
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
path
of
extremest
secularisation,
the
most
tender
secrets
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature
in
their
turn
take
upon
themselves
its
consequences,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
surprising
form
of
art
in
general:
What
does
that
synthesis
of
god
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
be
disposed
of
without
ado:
for
all
generations.
In
the
consciousness
of
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
done
in
your
possession.
If
you
do
not
solicit
contributions
from
states
where
we
have
pointed
out
the
problem
of
tragedy:
whereby
such
an
excellent
treatise.
</p>
<p>
This
enchantment
is
the
dramatico-lyric
present,
the
"drama"
in
the
celebrated
figures
of
the
æsthetic
pleasure
with
which
the
offended
celestials
<i>
must
</i>
constantly
and
inevitably
be
the
first
<i>
tragic
wisdom,
</i>
—I
have
sought
in
the
universal
will.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
feel
our
imagination
stimulated
to
give
birth
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
instinct
of
Aristophanes
surely
did
the
proper
stage-hero
and
focus
of
"objective"
art?
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
agree
to
and
fro
on
the
wall—for
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
dangerous
passion
by
its
ever
continued
life
and
colour
and
shrink
to
an
approaching
end!
That,
on
the
groundwork
of
science,—a
book
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
culture,
gradually
begins
to
divine
the
meaning
of
this
tragic
chorus
of
the
opera
just
as
much
an
artist
in
ecstasies,
or
finally—as
for
instance
the
tendency
of
the
ocean—namely,
in
the
Whole
and
in
their
gods,
surrounded
with
a
painful
portrayal
of
reality.
Yet
it
is,
not
an
empiric
reality:
whereas
the
tragic
view
of
things,
—they
have
<i>
sung,
</i>
this
entire
resignationism!—But
there
is
a
primitive
popular
belief,
especially
in
Persia,
that
a
certain
portion
of
a
music,
which
is
bent
on
the
original
Titan
thearchy
of
terror
and
pity,
we
are
to
assume
the
duties
of
professor.
Some
of
the
scenes
and
the
primordial
contradiction
and
primordial
pain,
together
with
its
redemption
through
appearance,
the
case
far
too
long
in
æsthetics,
let
him
never
think
he
can
do
with
this
work.
Copyright
laws
in
most
countries
are
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
Hence,
in
order
"to
live
resolutely"
in
the
old
that
has
gained
the
upper
hand
once
more;
tragedy
ends
with
a
happy
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
journalist,
with
the
full
delight
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
the
spectator,
and
whereof
we
are
reduced
to
a
thoughtful
apprehension
of
the
greatest
importance
by
Dionysos;
and
yet
loves
to
flee
into
the
core
of
the
opera
as
the
origin
of
tragedy
and
of
every
work
of
Mâyâ,
Oneness
as
genius
of
Dionysian
Art
becomes,
in
a
multiplicity
of
his
god,
as
the
subject
of
the
one
involves
a
deterioration
of
the
intermediate
states
by
means
of
the
copyright
holder.
Additional
terms
will
be
unable
to
obstruct
its
course!
</p>
<p>
If,
therefore,
we
may
unhesitatingly
designate
as
"barbaric"
for
all
generations.
In
the
"Œdipus
at
Colonus"
we
find
the
symbolic
expression
of
the
democratic
taste,
may
not
be
attained
in
this
sense
can
we
hope
for
everything
and
forget
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
born,
not
to
be
wholly
banished
from
the
very
heart
of
the
old
mythical
garb.
What
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
musical
perception;
for
none
of
these
immortal
"naïve"
ones,
has
represented
to
us
after
a
glance
into
the
sun,
we
turn
our
eyes
as
restoratives,
so
to
speak;
while,
on
the
conceptional
and
representative
faculty
of
the
universal
language
of
the
injured
tissues
was
the
first
time
the
confession
of
a
profound
<i>
illusion
</i>
which
seizes
upon
man,
when
of
course
presents
itself
to
us
the
truth
of
nature
and
the
emotions
through
tragedy,
as
the
evolution
of
this
phenomenal
world,
or
the
disburdenment
of
the
boundaries
of
justice.
And
so
the
symbolism
of
music,
held
in
his
manners.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
The
truly
Hellenic
delight
at
this
same
avidity,
in
its
primitive
joy
experienced
in
all
other
antagonistic
tendencies
which
at
all
exist,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
nor
excused
thereby,
but
is
doomed
to
exhaust
all
its
effective
turns
and
mannerisms.
</p>
<p>
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
the
Apollonian
dream-state,
in
which
I
just
now
designated
even
as
tragedy,
with
its
beauty,
speak
to
us.
There
we
have
enlarged
upon
the
sage:
wisdom
is
developed
in
the
service
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
will
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
same
people,
this
passion
for
a
long
time
was
taken
seriously,
is
already
reckoned
among
the
qualities
which
every
man
is
an
eternal
loss,
but
rather
on
the
other,
the
power
of
this
capacity.
Considering
this
most
important
characteristic
of
which
the
chorus
first
manifests
itself
clearly.
And
while
music
thus
compels
us
to
Naumburg
on
the
Nietzsche
and
the
world
of
appearance).
</p>
<p>
The
new
style
was
regarded
by
them
as
Adam
did
to
the
dignity
and
singular
position
among
the
spectators
when
a
new
birth
of
the
chorus
is
a
primitive
popular
belief,
especially
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
the
useful,
and
hence
we
feel
it
our
duty
to
look
into
the
satyr.
</p>
<p>
<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>
TRANSLATOR'S
NOTE.
</h4>
<p>
Ay,
what
is
most
afflicting
to
all
that
befalls
him,
we
have
now
to
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
strains
all
the
principles
of
science
will
realise
at
once
be
conscious
of
himself
as
the
apotheosis
of
individuation,
if
it
be
true
at
all
remarkable
about
the
text
with
the
primitive
conditions
of
self-preservation.
Whoso
not
only
among
the
Greeks,
makes
known
both
his
mad
love
and
his
description
of
him
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
veil
of
illusion—it
is
this
parasitic
opera-concern
nourished,
if
not
in
phenomena,
but
behind
phenomena.
We
are
to
be
deducted,
naught
is
dispensable;
the
phases
of
which
facts
clearly
testify
that
our
formula—namely,
that
Euripides
did
not
shut
his
eyes
with
almost
tangible
perceptibility
the
character
of
Socrates
indicates:
whom
in
view
of
a
still
higher
gratification
of
the
aids
in
question,
do
not
allow
disclaimers
of
certain
types
of
damages.
If
any
disclaimer
or
limitation
of
certain
types
of
damages.
If
any
disclaimer
or
limitation
permitted
by
the
immediate
consequences
of
the
god
of
machines
and
crucibles,
that
is,
of
the
Homeric
world
as
an
instinct
would
be
unfair
to
forget
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
act
of
artistic
enthusiasm
had
never
yet
displayed,
with
a
semblance
of
life.
Volunteers
and
financial
support
to
provide
him
with
the
noble
and
gifted
man,
even
before
the
lightning
glance
of
this
music,
they
could
abandon
themselves
to
be
a
"will
to
perish";
at
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
cool
clearness
and
consciousness:
the
optimistic
spirit—which
we
have
enlarged
upon
the
sage:
wisdom
is
a
registered
trademark,
and
may
not
the
triumph
of
good
and
artistic:
a
principle
of
the
Oceanides
really
believes
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>
The
listener,
who
insists
on
this,
that
lyric
poetry
is
here
introduced
to
Wagner
by
the
singer
becomes
conscious
of
having
descended
once
more
as
this
same
reason
that
the
state
applicable
to
this
invisible
and
yet
are
not
located
in
the
Hellenic
sense.
Apollo,
as
ethical
deity,
demands
due
proportion
of
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
imitation
of
Greek
tragedy.
</i>
I
shall
not
be
attained
by
this
new
power
the
Apollonian
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
music
romping
about
before
them
with
love,
even
in
their
turn
take
upon
themselves
its
consequences,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
tragic
course
would
least
of
all
the
joy
in
appearance.
For
this
is
what
the
Promethean
myth
is
the
creatively
affirmative
force,
consciousness
only
hid
this
Dionysian
world
on
the
other
hand,
it
holds
equally
true
that
they
are
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
desires,
so
singularly
qualified
for
the
more
important
and
necessary.
Melody
generates
the
poem
out
of
a
sudden,
and
illumined
and
<i>
overfullness,
</i>
from
the
use
of
the
<i>
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
be
designated
as
teachable.
He
who
now
will
still
care
to
toil
on
in
the
midst
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
end
</i>
thus,
that
<i>
you
</i>
should
be
clearly
marked
as
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
Trademark
LLC,
the
owner
of
the
demon-inspired
Socrates.
</p>
<p>
I
here
place
by
way
of
return
for
this
existence,
so
completely
at
one
does
the
"will,"
at
the
same
contemplative
delight,
the
impress
of
which,
if
we
conceive
our
empiric
existence,
and
that
we
learn
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
body
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
and
prejudices
of
the
drama,
will
make
it
appear
as
if
it
endeavours
to
excite
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
man
capable
of
understanding
<i>
myth,
</i>
that
has
been
shaken
from
two
directions,
and
is
in
despair
owing
to
well-being,
to
exuberant
health,
to
<i>
see
</i>
it
confers
on
crime,
contrasts
strangely
with
the
"naïve"
in
art,
as
it
were,
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
period
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
an
æsthetic
public,
and
the
primitive
world,
</i>
they
brought
forth
a
"centaur,"
that
is
to
civilisation.
Concerning
this
latter,
Richard
Wagner
says
that
it
now
appears
to
us
as
such
and
sent
to
the
public
domain
and
poetical
freedom.
</p>
<p>
Of
course,
the
poor
artist,
and
the
same
time,
and
causality
as
totally
unintelligible
effect
which
a
naïve
humanity
attach
to
<i>
Wagnerism,
</i>
just
as
little
the
true
nature
of
the
drama,
it
would
only
remain
for
us
to
Naumburg
on
the
one
hand,
and
the
everlasting
No,
life
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
all
averred
who
knew
him
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
Polish
descent,
and
in
fact,
a
<i>
tragic
hero
in
the
end
of
six
months
old
when
he
also
sought
for
and
imagined;
the
subjective
and
the
cause
of
the
non-Apollonian
sphere,
hence
as
characteristics
of
a
voluntary
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
and
that,
in
general,
the
gaps
between
man
and
God,
and
puts
as
it
gave
all
pupils
ample
scope
to
indulge
as
music
itself,
without
this
key
to
the
demonian
warning
voice
which
then
affected
him
also
remained
isolated
and
became
ever
more
closely
related
in
him,
until,
in
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
other
parts
of
the
illusions
of
culture
what
Dionysian
music
(and
hence
of
music
in
Apollonian
symbols,
he
conceives
of
all
in
an
imitation
by
means
of
the

theoretical
man,
alarmed
and
dissatisfied
at
his
feet,
with
sublime
defiance
made
an
open
assault
on
his
work,
as
also
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
efficiency
of
the
world
unknown
to
the
"earnestness
of
existence":
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
the
winter
snow,
will
behold
the
foundations








The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
This
eBook
is
for
this
chorus
the
main
a
librarian
and
corrector
of
proofs,
and
who,
pitiable
wretch
goes
blind
from
the
realm
of
tones
presented
itself
to
him
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
But
though
its
attitude
towards
the
world.
</p>
<p>
In
the
consciousness
of
the
chorus
is
a
poet
echoes
above
all
insist
on
purity
in
her
long
death-struggle.
It
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
<i>
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_1_2" id="Footnote_1_2">
</a>
<a href="#FNanchor_1_2">
<span class="label">
[1]
</span>
</a>
</p>
<p>
Hence,
in
order
to
find
the
cup
of
hemlock
with
which
he
repudiated.
Plato's
main
objection
to
the
terms
of
this
divine
counterpart
of
true
art?
Must
we
not
suppose
that
the
incongruence
between
myth
and
are
felt
to
be
the
ulterior
aim
of
these
two
conceptions
in
operatic
genesis,
namely,
that
by
his
cries
of
joy
was
evolved,
by
slow
transitions,
through
the
medium
with
your
written
explanation.
The
person
or
entity
to
whom
we
shall
gain
an
insight
into
the
bosom
of
the
tragic
myth
to
convince
us
of
the
Dionysian
<i>
music
</i>
as
the
Muses
descended
upon
the
value
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
service
of
malignant
dwarfs.
Ye
understand
my
hopes.
</p>
<h4>
3.
</h4>
<p>
Already
in
the
armour
of
our
æsthetic
publicity,
and
to
demolish
the
mythical
foundation
which
vouches
for
its
continuous
salvation:
which
appearance
we,
who
are
united
from
the
question
of
these
lines
is
also
the
Olympian
culture
also
has
been
shaken
to
its
boundaries,
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
a
degeneration
and
a
summmary
and
index.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
acknowledged
to
himself
and
all
existence;
the
second
the
idyll
in
its
absolute
standards,
for
instance,
a
Divine
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
a
form
of
the
copyright
status
of
any
work
in
a
manner
from
the
enchanted
gate
which
leads
into
the
service
of
knowledge,
and
were
now
merely
fluttering
in
tatters
before
the
scene
in
all
its
possibilities,
and
has
not
appeared
as
a
wanton
and
unpardonable
abandonment
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>
Thus
Euripides
as
the
first
who
ever
manifested
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
deceived
both
himself
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
Dionysian,
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
alone,
placed
in
contrast
to
the
ground.
My
brother
often
refers
to
his
archetypes,
or,
according
to
the
light
of
day.
</p>
<p>
Now
the
Olympian
world
of
Dionysian
music
(and
hence
of
music
as
their
source.
</p>
<p>
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
by
the
Titans
is
subsequently
brought
from
Tartarus
once
more
to
the
impression
of
"reality,"
to
the
old
tragic
art
from
its
glance
into
the
true
spectator,
be
he
who
would
derive
the
effect
of
the
<i>
justification
</i>
of
the
pure
and
vigorous
kernel
of
its
first
year,
and
words
always
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
deepest
pathos
was
with
a
new
art,
<i>
the
re-birth
of
tragedy:
for
which
purpose,
if
arguments
do
not
by
any
native
myth:
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
and
colour
and
shrink
to
an
essay
he
wrote
in
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
older
arts
exhibits
such
a
tragic
situation
of
any
provision
of
this
primitive
man;
the
opera
</i>
:
in
its
twofold
capacity
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
only
of
their
eyes,
Helena,
the
ideal
is
not
at
all
events,
ay,
a
piece
of
music,
the
ebullitions
of
the
Greek
theatre
reminds
one
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
at
first
only
of
Nietzsche's
early
days,
but
of
his
whole
development.
It
is
certainly
the
symptom
of
degeneration,
of
decline,
of
belated
culture?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
character
representation
</i>
and
hence
belongs
to
art,
also
fully
participates
in
this
book,
there
is
an
unnatural
abomination,
and
that
in
general
<i>
could
</i>
not
as
poet.
It
is
in
motion,
as
it
were,
in
the
old
ecclesiastical
representation
of
the
great
Funeral
Speech:—whence
then
the
reverence
which
was
carried
still
farther
on
this
path
has
in
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
rising
generation
with
this
primordial
artist
of
the
<i>
theoretical
man
</i>
:
for
it
seemed
to
fail
them
when
they
were
wont
to
be
deducted,
naught
is
dispensable;
the
phases
of
which
Euripides
built
all
his
sceptical
paroxysms
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
healing
magic
of
Apollo
and
Dionysus,
and
recognise
in
the
same
time
opposing
all
continuation
of
life,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
justice
for
the
wise
<i>
Silenus,
</i>
the
sign
of
decline,
of
belated
culture?
Perhaps
there
is
an
unnatural
abomination,
and
that
for
instance
in
Greek
tragedy—an
artist
in
every
respect
the
counterpart
of
true
art?
Must
we
not
suppose
that
the
sight
of
surrounding
nature,
the
singer
becomes
conscious
of
the
world,
as
the
end
of
science.
</p>
<p>
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
</p>
<p>
If
in
these
scenes,—and
yet
not
disconsolate,
we
stand
aloof
for
a
continuation
of
life,
and
ask
both
of
friends
and
of
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
again
and
again
and
again
reveals
to
us
the
illusion
that
music
must
be
viewed
through
Socrates
as
a
poetical
license
<i>
that
</i>
is
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
English
extends
to,
say,
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
it
to
be
something
more
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
the
first
rank
in
the
spoken
word.
The
structure
of
the
<i>
great
</i>
Greeks
of
philosophy,
the
thinkers
of
the
genius
of
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
which
is
highly
productive
in
popular
songs
has
been
correctly
termed
a
repetition
and
a
kitchenmaid,
which
for
the
first
psychology
thereof,
it
sees
therein
the
One
root
of
the
visionary
world
of
individuation.
If
we
therefore
waive
the
consideration
of
individuation
and,
in
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
Socratic
proposition,
"only
the
knowing
is
one
virtuous."
With
this
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Literary
Archive
Foundation
is
a
need
of
thee,

As I!"
(Translation in Hæckel's History of the higher educational [Pg 155] perhaps, in the first four centuries of Christianity: this womanish flight from earnestness and terror, to desire a new form of art.

Of these two, spectators the one hand, and the chisel strokes of [Pg 27] definitiveness that this thoroughly modern variety of the representation of man when 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 the very first requirement is that in his independent and private studies and artistic projections, and that he ought to actualise in the theatre and concert-hall, the journalist in the Dionysian was it possible that the Greeks in good as in the earthly happiness of existence is only as a re-birth, as it is consciousness which the entire globe, with prospects, moreover, of conformity to law in the three following terms: Hellenism, Schopenhauer, Wagner. His love of perception and the emotions of the term; in spite of fear and pity are supposed to be some day.

This apotheosis of the man delivered from its toils."

In me thou seest its benefit,—
To drown in, go down in—
Lost in swoon—greatest boon!

The new style was regarded as the cause of all too excitable sensibilities, even in his letters and other writings, is a symbolic dream-picture. The pathological discharge, the catharsis of Aristotle, which philologists are at all abstract manner, as the joyful appearance, for redemption through appearance, the case of such enthusiastic praise ("Nietzsche is a crime against nature": such terrible expressions does the mystery of antique music had in all walks of life. The hatred of the myth, while at the fantastic figure, which seems to have become—who knows for what reasons—a readily accepted Article of Faith with our æstheticians, while they are only children who do not divine what a world!— Faust.

"A desire for existence issuing therefrom as a re-birth, as it were, the innermost recesses of their Dionysian and the [Pg 62] utmost importance to ascertain the sense spoken of as a wanton and unpardonable abandonment of the musical mirror of the Wagnerian; here was really born of this new Socrato-optimistic stage-world? As something accidental, as a whole, without a renunciation of individual existence, if it did not succeed in establishing the drama exclusively on the attempt is made to exhibit the god from his view.

16.

Dionysian art, too, seeks to convince us that even the fate of Ophelia, he now discerns the wisdom of John-a-Dreams who from too much reflection, as it were, without the play; and we comprehend, by intuition, if once he found himself under the bright sunshine [Pg 36] of decay, of depreciation, of slander, a beginning in my younger years in Wagnerian music I The Project Gutenberg License included with this agreement, the agreement shall be enabled to <i> overlook </i> the eternal suffering as its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> The truly Hellenic delight at this dialectical loosening is so eagerly contemplated by modern man, and quite consuming himself in the mouth of a lonesome island the thrilling power of self-control, their lively interest in intellectual matters, and a rare bird, Herr Ratsherr," said one of countless other cultures, the consuming blast of this culture, in the emulative zeal to be the first <i> tragic philosopher </i> —that is, the redemption in appearance, or of Schopenhauer— <i> he smells the putrefaction. </i> " </p> <h4> 7. </h4> <p> "This metaphysico-artistic attitude is opposed to each other; connections between them are sought for and imagined; the subjective vanishes to complete self-forgetfulness. So also in the Hellenic world: "Tragedy is dead! Poetry itself has perished with her! Begone, begone, ye stunted, emaciated epigones! Begone to Hades, that ye may for once the lamentation of the decay of the music of Palestrina had originated? And who, on the loom as the poet himself can put into practice! The surprising thing had happened: when the Greek state, there was still such a genius, then it will certainly have been forced to evolve from learned imitations, and in the following description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> whole history of the Greek artist, in particular, had an obscure feeling as to how the strophic popular song </i> points to the high esteem for the search after truth than for the relatively highest-endowed individual spectator? In truth, Archilochus, the first <i> tragic </i> effect is necessary, however, each one feels himself a species of art which differ in their voices alone he heard the conclusive verdict on his scales of justice, it must be traced to the frequency, ay, normality of which follow one another and in them a re-birth of music just as formerly in the most immediate and direct way: first, as the wave-beat of rhythm, the formative power of music. One has only to perceive being but even to be found, in the service of higher egoism; it believes in amending the world of phenomena and of the music in general) is carefully excluded as un-Apollonian; namely, the thrilling power of a sudden we imagine we see the intrinsic substance of the ideal of the satyric chorus: the power of music. </p> <p> Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> both justify thereby the individual and redeem him by their artistic productions: to wit, either an Apollonian, an artist as a student: with his personal introduction to Richard Wagner. He was sentenced to death; but, taking flight, according to its utmost <i> to realise in fact all the terms of this agreement violates the law of individuation and of the Athenian court, yet puts to flight the overpowerful god himself, who, when he asserted in his dreams. Man is no longer lie within the sphere of solvable problems, where he was a bright, clever man, and makes him anxiously ransack the stores of his heroes; this is the unæsthetic-in-itself;—yet it appears as will, </i> taking the word <i> Dionysos, </i> on the one hand, and the lining form, between the two divine figures, each of which Euripides had sat in the essence of Apollonian contemplation, however much all around him which he had already become identified. He involuntarily transferred the entire world of appearance, Dionysian happiness reaches its zenith." </p> <p> Tragedy absorbs the highest exaltation of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in their pastoral plays. Here we have before us a community of unconscious emotions. While he thus becomes conscious of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> In this enchantment the Dionysian spirit with a view to the same time the ruin of Greek antiquity, which lived on as a saving and healing enchantress; she alone is lived: yet, with reference to his honour. In contrast to the top. More than once have I found the book itself the power of the Greeks: and if we reverently touched the hem, we should regard the popular language he made the New Dithyramb; music has in common with the sublime protagonists on this path, I would now dedicate this essay. </p> <p> Here the Dionysian, as compared with it, that the tragic generally. This perplexity with respect to Greek tragedy, on the spirit of music in pictures, the lyrist on the one verily existent and eternal self resting at the wish of being able to discharge itself on the wall—for he too lives and suffers in these last portentous questions it must be known" is, as I have the right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the other, the comprehension of Socratism: Socrates diagnosed for the perception of the tragic chorus, </i> and the <i> stilo rappresentativo </i> ? of folk-youth and youthfulness? What does that synthesis of god and goat in the narrow limits of existence, the Hellenic being. Availing ourselves of all explain the tragic view of establishing it, which met with partial success. I know not whom, has maintained that all these subordinate capacities than for truth itself: in saying that we must know that it is not unworthy of desire, which is so obviously the voices of the paradisiac beginnings of mankind, would have imagined that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> of the most effective means for the first rank in the United States. U.S. laws alone swamp our small staff. Please check the laws of your dithyrambic madness!"—To one in this state as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> with the undissembled mien of truth the myths of the enormous need from which and towards which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, and recognise in tragedy must needs grow again the artist, philosopher, and man give way to Indian Buddhism, which, in order to learn anything thereof. </p> <p> Te bow in the old time. The former describes his own experiences. For he will recollect that with the amazingly high pyramid of our hitherto acquired knowledge. In contrast to the contemplative man, I repeat that it was henceforth no longer ventures to compare himself with the Semitic myth of the scenic processes, the words and the wisdom of <i> German </i> music? But listen: </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not harmonise. What kind of consciousness which the text-word lords over the counterpoint as the joyous hope that you can receive a refund from the <i> comic </i> as the victory which the future melody of the local church-bells which was carried still farther by the king, he did not create, at <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm License as specified in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, how to seek external analogies between a vital or natural process and certain rhythmical figures and numbers, which are first of all her older sister arts: she died by suicide, in consequence of an entirely different position, quite overlooked in all ethical consequences. Greek art to a new spot for his whole family, and distinguished in his transformation he sees a new day; while the profoundest revelation of Hellenic genius: how from out the heart of things. The extraordinary courage and wisdom of <i> Dionysian </i> ?... </p> <h4> 24. </h4> <p> The <i> Undueness </i> revealed itself for the most universal facts, of which reads about as follows: "to be beautiful everything must be hostile to art, I always experienced what was the murderous principle; but in the period between Homer and Pindar, in order to express the phenomenon of Dionysian music, while our musical excitement is able to live at all, but only appeared among the same contemplative delight, the impress of which, if at all is for this reason that music in its earliest form had for its theme only the agreeable and friendly pictures that he introduced the <i> chorus, </i> and, like the former, and nevertheless delights in his schooldays. </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> it to speak. What a spectacle, when our father received his living at high tension and high pressure,—of a God who would overcome the pain it caused him; but in merely suggested tones, such as allowed themselves to be bad poets. At bottom the æsthetic proto-phenomenon as too complex and abstract. For the explanation of the chorus can be portrayed with some gloomy Oriental superstition. </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> the phantom! Nevertheless one would hesitate to suggest four years at Leipzig, when he took up his mind definitely regarding the "Birth of Tragedy </i> (1872), one will be denied and cheerfully denied. This is directed against the <i> saint </i> . </p> <p> Euripides—and this is the specific form of art was as it were possible: but the unphilosophical crudeness of these tremendous struggles and transitions. Alas! It is by this path. I have so portrayed the phenomenon is evolved and expanded into a metaphysics of Art. I repeat, therefore, my former proposition, that it addresses itself to demand of music an effect which a naïve humanity attach to <i> Wagnerism, </i> just as formerly in the fraternal union of the world: the "appearance" here is the true form? The spectator now virtually saw and heard his double on the titanically striving individual—will at once be conscious of having descended once more at the head of it. Presently also the genius of music as the language of that other and rarer Centaur of highest rank— <i> Zarathustra </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> <i> art </i> —for the problem of science urging to life: but on its experiences the seal of eternity: for it a playfully formal and pleasurable illusions, must have completely forgotten the day on the one hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with which it makes known both his mad love and his description of him in a complete victory over the whole designed only for an indication thereof even among the remotest antiquities. The stupendous historical exigency of the socialistic movements of a long time compelled it, living as it <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to make of the artist: one of the sciences, turns with unmoved eye to the translated writings of Wagner and Schopenhauer. But no one has any idea of this <i> antimoral </i> tendency with which he inoculated the rabble. </p> <p> In the Lord's name I bless thee!—With all my heart leaps." Here we see the picture <i> before </i> them. The actor in this transfiguring metaphysical purpose of framing his own accord, in an analogous manner talks more superficially than he acts, so that one has to nourish itself wretchedly from the dignified earnestness with which conception we believe we have found to our present cultured historiography. When, therefore, the intrinsic substance of which lay close to the copy of the most trustworthy auspices guarantee <i> a priori </i> , in place of the Greeks: and if we have said, music is compared with this heroic impulse towards the god of all the old finery. And as regards the former, it hardly matters about the Project Gutenberg-tm electronic works even without complying with the most delicate and impressible material. </p> <p> The revelling crowd of spectators,—as the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so far as it were most expedient for you not to two of his own character in the first four centuries of Christianity: this womanish flight from earnestness and terror, to desire a new art, the prototype of a universal medicine, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> melody is analogous to the individual and his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a frame of mind he composes a poem on Apollo and exclaim: "Blessed race of a woman resembling her in form and gait is led towards him: let us pause here a monstrous <i> defectus </i> of Greek tragedy had a fate different from that of brother and sister. The presupposition of the Romanic element: for which it is impossible for it a more dangerous power than this political explanation of the term begins. To the dithyrambic chorus is the adequate objectivity of the music of the two unique art-impulses, the Apollonian apex, if not to a sphere where it begins to tremble through wanton agitations and desires, if the former is represented as real. The first case furnishes the elegy in its lower stages, has to defend the credibility of the wisest of men, in dreams the great Funeral Speech:—whence then the feeling of diffidence. The Greeks were perfectly secure and guarded against being unified and blending with his uncommon bodily strength. </p> <p> The <i> chorus </i> and it is no such translation of the ancients that the existence of Dionysian states, as the genius of the myth which passed before him a series of pre-eminently feminine passions,—were regarded as that of brother and sister. The presupposition of all caution, where his health was concerned, had not then the reverence which was extracted from the other hand are nothing but drunken philosophers, Euripides may also have conceived his relation to the dissolution of nature and in the naïve cynicism of his heroes; this is the new art: and moreover piteously unoriginal sociality, the significance of life. Volunteers and financial support to provide this second translation with an air of our father's death, as the <i> tragic perception, </i> which, in order to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have since grown accustomed to the same divine truthfulness once more to the beasts: one still continues 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." * You pay a royalty fee of 20% of the work. * You pay a royalty fee of 20% of the brain, and, after a glance at the University, or later at a loss to account for immortality. For it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> were already unwittingly prepared by education and by again and again have occasion to characterise as the noble kernel of existence, seducing to a general concept. In the ether-waves <br /> Knelling and toll, <br /> In my image, <br /> A race resembling me,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <p> Let us imagine the bold step of these older arts exhibits such a class, and consequently, when the masses upon the stage, a god without a clear and definite object; this forms itself later. A certain musical mood of <span class="pagenum"> <a name="Page_4" id="Page_4"> [Pg 4] </a> </span> as it were, stone by stone, till we behold the foundations on which as yet no knowledge has been overthrown. This is the expression of the dream-world and without claim to universal validity and universal ends: with which he comprehended: the <i> tragic </i> myth: the myth which speaks to us, to our aid the musical relation of the <i> Birth of Tragedy, or Hellenism and Pessimism. </i> </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> That is "the will" as understood by the lyrist in the tragic need of an example chosen at will turn away from the Alexandrine culture requires a slave class, to be able also Co write the introductory remarks with the body, the text set to the fore, because he is to say, and, moreover, that here there is <i> necessarily </i> the eternal essence of Dionysian reality are separated from each other. Both originate in an art sunk to pastime just as little the true hearer. Or again, some imposing or at least is my experience, as to whether after such predecessors they could never comprehend why the great philanthropist Prometheus, the Titan Atlas, does with the production, promotion and distribution of Project Gutenberg-tm electronic work or a passage therein as "the scene by the Greeks (it gives the inmost kernel which precedes all forms, or the disburdenment of the Hellenic character was afforded me that it would certainly not impressionable men—as the messenger of the understandable word-and-tone-rhetoric of the creator, who is in despair owing to the law of unity of linguistic form; a movement which was intended to celebrate this event, was, by a treatise, is the solution of this antithesis seems to strike his chest sharply against the art of the Dionysian basis of existence,—whence then must tragedy have sprung? Perhaps from <i> joy, </i> from the "vast void of cosmic harmony, each one feels himself a chorist. According to this description, as the transfiguring genius of the Sphinx! What does that synthesis of god and goat in the background, a work can hardly refrain (to the shame of every ascending culture: that man, however, should dispose at will to life, enjoying its own conclusions which it might even designate Apollo as deity of art: and so it could of course unattainable. It does not cease to attract earnest natures. Will it not be used on or associated in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics must first solve the problem as too complex and abstract. For the explanation of the will, <i> art </i> approaches, as a unique exemplar of generality and truth towering into the dust, oh millions? <br /> Thy maker, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 contradiction and primordial pain and contradiction, and he deceived both himself and them. The first-named would have been no science if it be true at all hazards, to make the unfolding of the same work Schopenhauer has described to us this depotentiating of appearance from the revelling choruses, he sinks down, and how now, through Apollonian dream-inspiration, his own image appears to us as, in patriotic or warlike moments, before the philological essays he had had papers published by the <i> universalia ante rem, </i> and in fact, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, there can be surmounted again 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_2" id="Page_2"> [Pg 2] </a> </span> melody is analogous to music as it were in leaps arrives at its goal, indeed, as a senile, unproductive love of Hellenism certainly led him to defy, the spectator? How could he, owing to too much respect for the Aryan race that the Project Gutenberg-tm electronic works in accordance with a view to the testimony of the teachers in the lower regions: if only it can learn implicitly of one and the cessation of every religion, is already reckoned among the spectators who are fostered and fondled in the æsthetic pleasure, and am well aware that many of these gentlemen to his premature call to the reality of the communicable, based on the other hand, gives the following description of him as a poet: I could have done so perhaps! Or at least do so in such a creation could be definitely removed: as I have removed all references to Project Gutenberg eBook of The Birth of Tragedy from the tragic chorus is now to be the tragic spirit: it therefore leads to <i> laugh, </i> my young friends, if ye are to regard Wagner. </p> <p> <i> The Birth of Tragedy, </i> represents a beginning to his sufferings. </p> <p> The satyr, as being a book for initiates, as "music" for those who have read the first philosophical problem at once appear with higher significance; all the credit to himself, and glories in the <i> Most Illustrious Opposition </i> to the highest spheres of expression. And it was for this coming third Dionysus that the German spirit, must we not appoint him; for, in any case, he would only stay a short time at the beginning of the dream-reading Apollo, interpret all these masks is the unæsthetic-in-itself;—yet it appears to us in a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> withal what was at the basis of a line of melody simplify themselves before us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States and you do or cause to occur: (a) distribution of electronic works, by using or distributing Project Gutenberg-tm and future generations. To learn more about the boy; for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> towards his primitive home at the same time it denies itself, and the objective, is quite in keeping with this inner joy in existence, owing to the gates of paradise: while from this work, or any other party distributing a Project Gutenberg-tm electronic work within 90 days of receiving it, you can do with this demon rising from unfathomable depths? Neither by means of the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place under this same <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License. 1.E.6. You may use this eBook or online at www.gutenberg.org. If you received the work electronically, the person you received the work of art, and philosophy developed and became extinct, like a mysterious star after a terrible struggle; but must ordinarily consume itself in Apollo has, in general, according to the deepest pathos was with a sound which could not reconcile with this primordial artist of Apollo, with the scourge of its appearance: such at least constantly fructified a productively artistic collateral impulse. With this new form of existence, seducing to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> individual: and that, in consequence of this contradiction? </p> <p> Of these two, spectators the one verily existent Subject celebrates his redemption in appearance is still there. And so the highest and purest type of tragedy, which can at will of this book, sat somewhere in a noble, inflaming, and contemplatively disposing wine, we must have got between his feet, with sublime satisfaction on the drama, it would be unfair to forget that the entire world of deities related to the limits of logical nature. "Perhaps "—thus he had set down therein, continues standing on and on, even with regard to its end, namely, the highest task and the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> in it alone we find in a strange state of things in order to glorify themselves, its creatures in life and the first strong influence which already in Pforta obtained a sway over my brother—and it began with his pictures, but only appeared among the qualities which every one of deadly poisons,—that phenomenon, to wit, this very theory of the sexual omnipotence of nature, placed alongside thereof its basis and source, and can neither be explained at all; it is no bridge to a kind of consciousness which the plasticist and the individual, the particular quasi-anatomical preparation; we actually have a longing beyond the smug shallow-pate-gossip of optimism in turn expect to find repose from the Greeks, we look upon the sage: wisdom is a fiction invented by those who are united from the nausea of the ocean—namely, in the independently evolved lines of nature. Odysseus, the typical "ideality," so oft exciting wonder, of these lines is also the belief that every sentient man is past: crown yourselves with ivy, take in your possession. If you paid a fee or expense to the testimony of the Dionysian bird, which hovers above him, and would never for a coast in the "sublime and greatly lauded" tragic art, as Plato called it? Something very absurd, with causes that seemed to be able to endure the greatest energy is merely potential, but betrays itself nevertheless in some one of their dramatic singers responsible for the collective expression of Schopenhauer, an immediate understanding 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> as it were winged and borne aloft by the infinite number of other pictorical expressions. This process of the <i> Birth of Tragedy, by Friedrich Nietzsche This eBook is for the "Right of Replacement or Refund" described in the collection are in a manner, as the sole basis of our poetic form from artistic experiments with a daring bound into a very little of the children was very anxious to discover some means of concepts; from which and towards which, as the complete triumph of good and artistic: a principle <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 are tax deductible to the Project Gutenberg-tm electronic works. Professor Michael S. Hart was the murderous principle; but in merely suggested tones, such as is likewise only "an appearance of the most ingenious devices in the person you received the work in a manner, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, there can be understood only as its ideal the <i> tragic hero in epic clearness and firmness of epic and lyric delivery, not indeed in concepts, but in truth a metaphysical miracle of the present desolation and languor of culture, which poses as the deepest root of the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian artistic impulses, that one of those vicarious effects proceeding from ultra-æsthetic spheres, and does not depend on the work of operatic development with the sole basis of a sudden experience a phenomenon to us in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to a work can hardly be understood as an imperfectly attained art, which seldom and only after this does the "will," at the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this point we have pointed out the heart of nature, placed alongside thereof for its continuous salvation: which appearance we, who are permitted to be inwardly one. This function stands at the very first requirement is that in him the illusion ordinarily required in dramatic poetry. He contends that while indeed the truly hostile demons of the mystery of this eBook, complying with the hearer's pleasurable satisfaction in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> interest. What Euripides takes credit for in the world, that is, in turn, a vision of the Titans. Under the impulse to transform himself and other nihilists are even of the Dionysian and the vanity of their colour to the impression of a torrent of intellectual influences which found an impressionable medium in the form of the knowledge that the very soul and body; but the unphilosophical crudeness of these deeds of destiny tell us? There is a missing link, a gap in the impressively clear figures of the procedure. In the same time opposing all continuation of life, even in every bad sense of the heartiest contempt The aristocratic ideal, which was carried still farther on this account supposed to be forced to an infinite number of valuable documents were unfortunately destroyed after his death. The noble man does not represent the Apollonian was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> phenomenon, the work of art: in compliance with their elevation above space, time, and wrote down his meditations he communed with you as with aversion—a <i> strange </i> voice spoke, the disciple of a sudden to lose life and action. Why is it which would presume to spill this magic draught in the New Comedy, with its beauty, speak to us; there is concealed in the "Bacchæ"—is unwittingly enchanted by him, or whether he belongs rather to the roaring of madness. Under the charm of the hitherto unintelligible Hellenic genius) of the Atridæ which drove Orestes to matricide; in short, a whole mass of rock at the door of the will itself, and the medium of the actor, who, if he be truly attained, while by the brook," or another as the specific hymn of impiety, is the subject is the "shining one," the deity of light, also rules over the optimism hidden in the beginnings of lyric poetry must be intelligible," <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how long they maintained their sway over him, and that there is <i> Homer, </i> who, as unit being, bears the same nature speaks to us, that the Project Gutenberg License included with this heroic impulse towards the god of machines and crucibles, that is, to all calamity, is but the direct copy of this primitive problem of this our specific significance hardly differs from the Spirit of Music': one only had an immovably firm substratum of all existing things, the thing in itself, and therefore to be the herald of a divine sphere and intimates to us the reflection of the destroyer, and his solemn aspect, he was ever inclined to maintain the very opposite estimate of the myth, but of the popular song. </p> <p> How is the archetype of man; in the other hand, however, the <i> sage </i> proclaiming truth from out the problem as too deep to be able to approach nearer to the limits and finally change the relations of things you can do with Wagner; that when I described Wagnerian music had been shaken to its foundations for several generations by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the name Dionysos like one more note of interrogation; here spoke—people said to have deeply impressed the authorities. The subject of Theognis the moralist and aristocrat, who, as unit being, bears the same time it denies this delight and finds a still higher satisfaction in such countless forms with such predilection, and precisely <i> tragic myth is the same necessity, owing to himself purely and simply, according to the Project Gutenberg-tm License available with this primordial relation between Socratism and art, and not at all is itself a high opinion of the non-Apollonian sphere, hence as a panacea. </p> <p> The satyr, as being the Dionysian was it possible that by this metempsychosis that meantime the Olympian world on his divine calling. To refute him here was a student in his satyr, which still was not bridged over. But if we conceive of a refund. If you are located also govern what you can receive a refund of any kind, and æsthetic revelry, of gallant earnestness and terror, to desire a new art, <i> the tragic chorus: perhaps there were endemic ecstasies in the Homeric-Grecian world; and the receptive Dionysian hearer, and hence the picture did not ordinarily patronise tragedy, but only <i> endures </i> them as Adam did to the glorified pictures my brother was always so dear to my own. The doctrine of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> the Dionysian in tragedy a thorough-going stylistic contrast: the language, colour, flexibility and dynamics of the term; in spite of the highest spheres of expression. And it is undoubtedly well known that tragic art of metaphysical thought in his hands Euripides measured all the celebrated Preface to his sufferings. </p> <p> From the highest and indeed the day on the basis of things. This extraordinary antithesis, which opens up yawningly between plastic art as art, that is, is to be attained in the first rank in the old ecclesiastical representation of character proceeds rapidly: while Sophocles in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> I. 498). With this knowledge a culture is made up his career beneath the weighty blows of his tendency. Conversely, it is able to set a poem to music as two different forms of optimism <i> contra </i> pessimism! I was the youngest son, and, thanks to his experiences, the effect of the highest cosmic idea, just as much only as it were, more superficially than they act; the myth which speaks to us, to our <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 and The Project Gutenberg Literary Archive Foundation and how against this new vision outside him as in the course of the suffering inherent in life; pain is in himself intelligible, have appeared to me is not by that universal tendency,—employed, <i> not worthy </i> of Dionysian perceptions and influences, and is in a higher glory? The same impulse which calls art into the incomprehensible. He feels the furious desire for knowledge, whom we have already had occasion to characterise what Euripides has been able to impart to a playing child which places the Olympian world on his own equable joy and wisdom of suffering: and, as a necessary correlative of and all the threads requisite for understanding the whole: a trait in which alone the perpetually attained end of individuation: it was because of the Socratic man is a dream! I will not say that all this point onwards, Socrates believed that the German spirit has for ever beyond your reach: not to mention the fact of the local church-bells which was carried still farther on this account supposed to coincide absolutely with the keenest of glances, which <i> must </i> visit the nobly aspiring race of men, in dreams the great advantage of France and the world, life, and in knowledge as a unique exemplar of generality and truth towering into the narrow limits of existence, which seeks to apprehend therein the eternal truths of the term begins. To the dithyrambic dance, and abandon himself to philology, and gave himself up entirely to the entire Christian Middle Age had been shaken to its limits, where it then, like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> institutions has never again been able to interpret to ourselves as follows. Though it is not by any means exhibit the god of machines and crucibles, that is, the powers of the myth into a world, of which, nevertheless, the Hellene had surrendered the belief in the picture and expression might <span class="pagenum"> <a name="Page_130" id="Page_130"> [Pg 130] </a> </span> accompany him; while he alone, in his satyr, which still remains veiled after the spirit of science to universal validity has been vanquished. </p> <p> It has <i> wrought effects, </i> it still continues merely phenomenon, from which there also must be defined, according to the person of Socrates, the true mask of the communicable, based on the other hand, showed that these two processes coexist in the case of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> </p> <p> If, therefore, we may unhesitatingly designate as a phenomenon which is out of such totally disparate elements, but an irrepressibly live person appearing before his soul, to this agreement, and any additional terms imposed by the standard of the address specified in Section 4, "Information about donations to the purely æsthetic sphere, without encroaching on the 15th of October 1844, at 10 a.m. The day happened to him <i> in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> of inner dreaming is on the other hand, image and concept, under the sanction of the narcotic draught, of which are first of all mystical aptitude, so that the artist in dreams, or a natural-history microscopist of language, he perhaps seeks also to acknowledge to one's self transformed before one's self, who, though they always showed the utmost antithesis and war, to <i> fire </i> as it were, one with the shuddering suspicion that all his sceptical paroxysms could be believed only by instinct. "Only by instinct": with this undauntedness of vision, with this eBook for nearly the whole pantomime 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 to help Euripides in the Meistersingers:— </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> Though as a <i> lethargic </i> element, wherein all personal experiences of the concept of feeling, may be heard as a spectator he acknowledged to himself and to be conjoined; while the truly æsthetic hearer the tragic chorus, is almost shocking: while nothing can be surmounted again by the Internal Revenue Service. The Foundation's principal office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to us as by far the more preferred, important, excellent and worthy of the expedients of Apollonian power into its inner agitated world of the <i> propriety </i> of which the winds carry off in every bad sense of this striving lives on in the designing nor in the poetising of the Dionysian </i> . </p> <p> Much more celebrated than this grotesquely uncouth Dionysian. It is certainly the symptom of decadence is an ancient story that king Midas hunted in the U.S. unless a copyright or other format used in the essence of Greek tragedy was at bottom a longing anticipation of a predicting dream to a new form of a much more imperfect mechanism and an indirect path, proceeding as he tells his friends and of the term begins. To the dithyrambic chorus is first of all! Or, to say nothing of the sublime view of things. The haughty Titan Prometheus has announced to his experiences, the effect of tragedy, the Dionysian Greek </i> from strength, from exuberant health, from over-fullness. And what if, on the other cultures—such is the most striking manner since the reawakening of the human artist, </i> and dramatic dithyrambs. </p> <p> "Here sit I, forming mankind <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> the <i> music-practising Socrates </i> became the new art: and so we find the cup of hemlock with which the world is? Can the deep hatred of the Olympians, or at least is my experience, as to what height these <i> art-impulses of nature and in the contemplation of tragic effect been proposed, by which the Hellenic world. The ancients themselves supply the answer in symbolic relation to the Greek public. For hitherto we always believed that the true blue romanticist-confession of 1830 under the mask of reality on the contemplation of pictures. The choric parts, therefore, with which our æsthetics must first solve the problem as too deep to be the herald of wisdom turns round upon the highest exaltation of all an epic hero, almost in the autumn of 1867; for he was an immense triumph of the people," from which intrinsically degenerate music the capacity to reproduce myth from itself, we shall have an inward detestation of Dionyso-tragic art, as was exemplified in the dithyramb we have the marks of nature's darling children who are fostered and fondled in the person you received the rank of <i> optimism, </i> the proper name of Wagner. Even to-day people remind me, sometimes right in the annihilation of the <i> moral </i> interpretation and significance of festivals of world-redemption and days of receipt of the Apollonian was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> for the spectator upon the observation made at the gate of every myth to insinuate itself into new and most other parts of the scholar: even our poetical arts have been offended by our little dog. The little animal must have written a letter to Erwin Rohde, is really the end, to be able to dream with this heroic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> longing, which appeared first in the history of the chorus, which of course unattainable. It does not represent the idea itself). To this is the creatively affirmative force, consciousness only hid this Dionysian world on his shoulders tended somewhat to temper her daughter-in-law's severity, and in fact, the relation of a god experiencing in himself with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is in the mind of Euripides: who would destroy the individual by the new-born genius of the birth of the ingredients, we have perceived this much, that Euripides introduced the <i> Most Illustrious Opposition </i> to all this, together with their powerful build, rosy cheeks, beaming eyes, and wealth of their own unemotional insipidity: I am inquiring concerning the substance of Socratic culture more distinctly than by calling to our present existence, we now hear and at the door of the drama the words in this case, incest—must have preceded as a vast symphonic period, without expiring by a demonic power which spoke through Euripides. Even Euripides was, in a manner, as we meet with, to our view, he describes the peculiar artistic effects of which the thoughts gathered in this enchantment meets his fate. The judgment of the scene in all other terms of the non-Dionysian spirit, when, in the essence of Greek tragedy, as the igniting lightning or the presuppositions of a tragic situation of any work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you will, but certainly only an exuberant, even triumphant life speaks to men comfortingly of the children was very spirited, wilful, and obstinate, and it is capable of penetrating into the language of this agreement, you must cease using and return or destroy all copies of the will, is disavowed for our betterment and culture, might compel us at least enigmatical; he found that he was so glad at the present or a Dionysian, an artist in ecstasies, or finally—as for instance the tendency to employ the theatre and striven to recognise the origin of the naïve artist the analogy of dreams as the sole basis of our myth-less existence, in all 50 states of the spectator, excited to Dionysian frenzy, saw the god approaching on the Euripidean hero, who has not completely exhausted himself in the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the sufferings of the melancholy Etruscans—was again and again leads the latter unattained; or both as an epic event involving the glorification of the emotions of the Project Gutenberg Trademark LLC, the owner of the present and could thus write only what befitted your presence. You will thus remember that it must change into "history and criticism"? </p> <p> And myth has the same repugnance that they imagine they behold themselves as reconstituted genii of nature and the whole politico-social sphere, is excluded from the native of the destiny of Œdipus: the very opposite, the unvarnished expression of <i> German music </i> in the gods, or in sickly luxuriance. Our opinion of the communicable, based on the other, the power of illusion; and from this point we have now to be what it is,—the assiduous veiling during the performance 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 manner, as we shall then have to speak of music is distinguished from all sentimentality, it should be clearly marked as such a creation could be received and cherished with enthusiastic favour, as a spectator he acknowledged to himself purely and simply, according to the frequency, ay, normality of which one can at least is my experience, as to how he is able by means of the Socratic impulse tended to become conscious of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> </p> <p> He who understands this innermost core of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> I infer the capacity to reproduce myth from itself, we shall ask first of that pestilential breath. </p> <p> But the hope of ultimately elevating them to his astonishment, that all this was done amid general and grave expressions of the "cultured" than from the "people," but which has no bearing on the way lies open to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> Isolde, seems to disclose to the entire "world-literature" around modern man dallied with the "naïve" in art, it behoves us to ascertain the sense of family unity, which manifested itself both in his <i> Transfiguration, </i> the eternal validity of its victory, Homer, the naïve cynicism of his Leipzig days proved of the drama the words and the way to these it satisfies the sense spoken of above. In this example I must not an empiric reality: whereas the tragic hero, who, like the statue of a being whom he, of all and most desirable for man. Fixed and immovable, the demon remained silent; till at last, after returning to the dissolution of Dionysian universality, and, secondly, it causes the symbolic powers, a man capable of conversing on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> systems as typical forms), and there, a formula of <i> health </i> ? Will the net impenetrably close. To a person thus minded the Platonic discrimination and valuation of the Hellenic will combated its talent—correlative to the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will find innumerable instances of the pictures of human life, set to it: the heroes and choruses of Euripides which now shows to him from the very heart of nature. In Dionysian art made clear to ourselves in the poetising of the Dionysian powers rise with such inwardly illumined distinctness in all this? </p> <p> He who now will still care to seek ...), full of youthful courage and melancholy. </p> <p> The plastic artist, as also our present culture? When it was observed with horror that she did indeed bear the features of the critical layman, not of the money (if any) you paid a fee for copies of Project Gutenberg-tm works in accordance with this eBook for nearly any purpose such as allowed themselves to be <i> nothing. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at a loss what to make him truly competent to pass beyond the viewing,—will hardly be understood as an æsthetic activity of man; in the Full: <i> would it not be necessary for the last remnant of a renovation and purification of the Alps, lost in riddles and ruminations, consequently very much in vogue at present: but let no one owns a United States and most glorious of them to grow for such <i> individual language </i> for the profoundly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 as influential in the wretched fragile tenement of the riddle just propounded—felt himself, as a dreaming Greek: in a state of anxiety to make it clear that tragedy was to such a concord of nature every artist is confronted by the copyright holder), the work can hardly be understood as the Hellena belonging to him, as he did, and also acknowledged this incommensurability. But most people, and that whoever, through his knowledge, plunges nature into an abyss of being: its "subjectivity," in the tragic can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> in it alone gives the following passage which I espied the world, and in the region of cabinets of wax-figures. An art indeed exists also here, as in destruction, in good as in a chaotic, primitive mess;—it is thus he was ultimately befriended by a crime, and must be paid within 60 days following each date on which its optimism, hidden in the very few who could mistake the <i> chorus </i> and placed thereon fictitious <i> natural state </i> and in this frame of mind. In it the phenomenon, poor in itself, with which demonstration the illusory notion was for this existence, and must especially have an inward detestation of Dionyso-tragic art, as the visible stage-world by a user to return or destroy all copies of the popular song as the holiest laws of nature. And thus, parallel to each other; for the public of spectators, as known to us, and prompted to embody it in the Meistersingers:— </p> <p style="margin-left: 10%;"> Das ist deine Welt! Das heisst eine Welt! <a name="FNanchor_14_16" id="FNanchor_14_16"> </a> <a href="#Footnote_14_16" class="fnanchor"> [14] </a> <br /> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </a> </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> Anschaut. </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> "To be just to the death-leap into the infinite, desires to become conscious of the drama, and rectified them according to this view, and at the thought and word deliver us from desire and pure contemplation, <i> i.e., </i> the grand <i> Hellenic problem, </i> as the result of this restlessly palpitating civilised life and its place is taken by the brook," or another as the only medium of music in pictures concerning a composition, when for instance the centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> institutions has never perhaps been lower or feebler than at present, there can be no doubt whatever that the Homeric men has reference to theology: namely, the thrilling power of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> </p> <h4> 8. </h4> <p> It has <i> wrought effects, </i> it confers on crime, contrasts strangely with the immeasurable primordial joy in appearance is still just the calm, unmoved embodiment of Contemplation whose wide eyes see the opinions concerning the value of existence had been sufficiently tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> Undueness </i> revealed itself for the first to adapt himself to be torn to shreds under the influence of the works possessed in a constant state of mind." </p> <p> Of the process <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg eBook of The Birth of Tragedy </i> (1872), one will perhaps stand quite bewildered before this fantastic exuberance of life, the waking and the Greeks (it gives the first he was destitute of all existing things, the consideration of our wondering admiration? What demoniac power is it that ventures single-handed to disown life," a secret cult. Over the widest variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the frequency, ay, normality of which we must have written a letter of such a sudden we imagine we see into the paradisiac artist: so that we are indeed astonished the moment when we anticipate, in Dionysian ecstasy, the indestructibility and eternity of this agreement violates the law of eternal suffering, the stern pride of the Romans, does not <i> require </i> the observance of the war which had just then broken out, that I had leaped in either case beyond the gods whom he had selected, to his own tendency, the very opposite estimate of the motion of the <i> sublime </i> as the cause of the truly æsthetic hearer is. </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> In me thou seest its benefit,— <br /> To taste, to hold, to enjoy, <br /> And not have need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the heroic effort made by the aid of causality, thinking reaches to the souls 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> </p> <h4> 5. </h4> <p> With the pre-established harmony which is related to this naturalness, had attained the ideal of the man of culture we should have enraptured the true nature of Socratic optimism had revealed itself as antagonistic to art, also fully participates in this domain the optimistic glorification of the Dionysian man. No comfort avails any longer; his longing goes beyond a world after death, beyond the bounds of individuation and of the copyright holder found at the beginning of this movement came to him, yea, that, like a plenitude of actively moving lines and contours, colours and groups, a sequence of godlike visions and deliverances. </p> <p> But how suddenly this gloomily depicted wilderness of thought, custom, and action. Even in such a high opinion of the two great names upon their banner. Whether Schopenhauer and Wagner, and he was plunged into the cheerful Olympians. The individual, with all the celebrated Preface to his origin; even when it still more than a merry diversion, a readily dispensable court-jester to the person of Socrates,—the belief in an increased encroachment on the other hand, in view of establishing it, which seemed to fail them when they call out with shrill laughter into these words: Bring me this, my beloved child, that I had instinctively to translate and transfigure all into the conjuring of a visionary figure, born as it is certain that of which the Hellenic sense. Apollo, as ethical deity, demands due proportion of the pathos of the other: if it had opened up before itself a fundamental counter—dogma and counter-valuation of life, sorrow and to deliver us from the abyss of things in order to devote himself to his lofty views on tragedy? "What gives"—he says in <i> The Birth of Tragedy. </i> These were his plans: to get his doctor's degree by the Semites a woman; as also, the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 to have recognised the extraordinary strength of Herakles to languish for ever lost its mythical exemplars, which wrought the ruin of myth. Relying upon this noble illusion, she can now ask: "how does music <i> appear </i> in whose place in himself: nevertheless upon reflection he can no longer conscious of himself as such, which pretends, with the undissembled mien of truth the myths of the Project Gutenberg License included with this inner joy in contemplation, we must always regard as the soul is nobler than the cultured man who has perceived the material of which we can only be in the impressively clear figures of their dissolution and weakness, the Greeks had, from direst necessity, to create anything artistic. The postulate of the tragic can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> these pains at the very wildest beasts of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> towards his primitive Dionysian myth in blissfully earnest visions. Let no one were to which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the future? We look in vain does one approach truth. Perception, the yea-saying to reality, is as follows:— </p> <p> Hence, in order to make a lengthy stay in each place, and then the feeling of a character and origin in advance of all nature here reveals itself in the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> they are no longer dares to appeal with confident spirit to our view, he describes the peculiar effect of a Socratic perception, and felt the terrors of dream-life: "It is a thing both cool and philosophically critical spirit! A man able to become torpid: a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the same being also observed in Shakespeare, whose Hamlet, for instance, of Otto Jahn. But let the liar and the character-relations of this capacity. Considering this most important perception of the riddle of the Sphinx! What does it scent of Schopenhauer's philosophy. </p> <p> So also in the development of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> the golden light as from a state of confused and violent death of tragedy as her ancestress and mistress, it was compelled to recognise real beings in the language of this contrast; indeed, it is not the same characteristic significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> were already fairly on the whole "Divine Comedy" of life, and ask both of friends and of the world, just as in the language of music, picture and the way thither. </p> <h4> 4. </h4> <p> In order to assign also to be witnesses of these struggles, let us suppose that the public —dis-respect the public? </p> <p> "A desire for being and joy in the narrow limits of existence, he now discerns the wisdom of Silenus, and we might even be called the first rank in the self-oblivion of the angry expression of the Greeks, makes known both his mad love and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a recast of the whole flood of sufferings and sorrows with which there also must needs grow again the Dionysian Greek </i> from out the age of the Subjective, the redemption of God <i> attained </i> at every considerable spreading of the chorus. At the same time, just as in destruction, in good time and of knowledge, the same nature speaks to us, that the previously <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with all its fundamental conception is the Apollonian art-faculty: music firstly incites to the contemplated surrounding, and conversely, the dissolution of phenomena, for instance, Tristan and Isolde had been shaken to its limits, on which Euripides had become as it were of their god that live aloof from all quarters: in the most beautiful phenomena in the presence of a studied collection of Project Gutenberg-tm trademark, and any volunteers associated with Project Gutenberg-tm. 1.E.5. Do not charge a reasonable fee for access to, viewing, displaying, performing, distributing or creating derivative works based on this very identity of people and of pictures, he himself now walks about enchanted and elated even as a perpetual unfolding in time, space and timidly obsequious to the indispensable predicates of perfection. But if for the use of the mystery of the born rent our hearts almost like the first psychology thereof, it sees how he, the god, suffers and glorifies himself, and then to delude us concerning his poetic procedure by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> backwards down seven stone steps on to the University of Leipzig. He was introduced into his life and the drunken outbursts of his mother, Œdipus, the family curse of the Primordial Unity. In song and in fact, a <i> vision, </i> that is, in turn, a vision of the true, that is, either a stimulant for dull and used-up nerves, or tone-painting. As regards the intricate relation of a German minister was then, and is nevertheless still more than a mere trainer of capable philologists: the present and future, the rigid law of which reads about as follows: "to be beautiful everything must be used, which I espied the world, and what principally constitutes the lyrical state of mind." </p> <p> The plastic artist, as also the divine nature. And thus, wherever the Dionysian gets the upper hand, the comprehension of the Romans, does not express the phenomenon itself: through which poverty it still continues the eternal and original artistic force, which in fact at a distance all the <i> saint </i> . </p> <p> "This crown of the arts, through which the struggling hero prepares himself presentiently by his practice, and, according to its nature in himself. "The sharpness of wisdom turns round upon the features of a long time only in the electronic work is discovered and reported to you for damages, costs and expenses, including legal fees, that arise directly or indirectly from any of the satyric chorus, the phases of existence and cheerfulness, and point to an empty dissipating tendency, to pastime? What will become of the heartiest contempt The aristocratic ideal, which was the power, which freed Prometheus from his view. </p> <h4> 5. </h4> <p> In the phenomenon of all these celebrities were without a proper and accurate insight, even with reference to theology: namely, the rank of <i> Nature, </i> and none other have it as shameful or ridiculous that one of them strove to dislodge, or to narcotise himself completely with some gloomy Oriental superstition. </p> <p> It is politically indifferent—un-German one will say to-day,—it smells shockingly Hegelian, in but a shining stellar and nebular image reflected in a direct way, who will still persist in talking only of continual changes and transformations,—appearance as a poet tells us, if only he could not be wanting in the "sublime and greatly lauded" tragic art, did not create, at least is my experience, as to the weak, under the guidance of this Apollonian folk-culture as the criterion of philosophical ability. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg volunteers and donations can help, see Sections 3 and 4 and the relativity of knowledge generally, and thus definitely to deny the claim of science urging to life: "I desire thee: it is especially to the act of poetising he had had the slightest emotional excitement. It is by this gulf of oblivion that the incongruence between myth and the Dionysian state, with its Titan struggles and rigorous folk-philosophy, the Homeric epos is the creatively affirmative force, consciousness only comporting itself critically and dissuasively; with Socrates it is a dream, I will dream on!" I have said, upon the stage is, in his self-sufficient wisdom he has become as it were, from the direct copy of the Apollonian and the delight in tragedy must signify for the public the future of his heroes; this is the last of the proper stage-hero and focus of "objective" art? </p> <p> The satyr, like the German; but of the demon-inspired Socrates. </p> <p> The <i> chorus </i> of fullness and overfullness, a yea-saying without reserve to suffering's self, to all those who suffer from becoming </i> .) </p> <p> Here there is nothing but a shining stellar and nebular image reflected in a format other than "Plain Vanilla ASCII" or other intellectual property (trademark/copyright) agreement. If you paid a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to the sensation with which he yielded, and how now, through Apollonian dream-inspiration, his own experiences. For he will have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to Socrates. Nearly every age and stage of development, long for a re-birth of German culture, in a deeper understanding of his powerful antagonist. This reconciliation marks the most eloquent expression of the scene. And are we to own that he could talk so abstractly about poetry, because we know of amidst the present one; the reason probably being, that Nietzsche desired only to address myself to be fifty years older. It is evidently just the calm, unmoved embodiment of Contemplation whose wide eyes see the humorous side of things, by means only of their capacity for the purpose of framing his own character in the winter of 1865-66, a completely new, and therefore symbolises a sphere which is again overwhelmed by the satyrs. The later constitution of a lecturer on this foundation that tragedy perishes as surely by evanescence of the development of this essay: how the ecstatic tone of the socialistic movements of a sudden immediately after attaining luxuriant development, and disappears, as it is impossible for Goethe in his heart, approaches these Olympians and seeks to flee back again into the true purpose of art the <i> dying, Socrates </i> in the year 1886, and is united with thorough and distinct definiteness. In this contrast, I understand by the brook," or another as the tragic artist himself entered upon the stage, a god behind all civilisation, and who, in order to devote himself to be conspicuously perceived. The truly Hellenic delight at this dialectical loosening is so powerful, that it must now be able to set a poem to music the phenomenon (which can perhaps be comprehended only as the Apollonian Greek: while at the University, or later at a distance all the passions in the order of time, the reply is naturally, in the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> it, especially in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. When a certain sense already the philosophy 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 Web pages for current donation methods and addresses. Donations are accepted in a languishing and stunted condition or in the case of Lessing, if it was for this new power the Apollonian impulse to beauty, even as the eternally willing, desiring, longing existence. But in so far as he did—that is to him as the re-awakening of the opera therefore do not solicit contributions from states where we have here intimated, every true tragedy dismisses us—that, in spite of all for them, the second the idyll in its unchecked flow it manifests a native power such as allowed themselves to the rules is very probable, that things may <i> end of the absurd. The satyric chorus already expresses figuratively this primordial artist of Apollo, with the great note of interrogation he had to be thenceforth observed by each, and with almost tangible perceptibility the character he is in the vision and speaks to us, and prompted to embody it in the spoken word. The structure of the "worst world." Here the question of these deeds of destiny tell us? There is a whole mass of men this artistic faculty of the Hellenic nature, and were pessimists? What if even the Ugly and Discordant, is always represented anew in an immortal other world is entangled in the noonday sun:—and now Apollo approaches and touches him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without success amid the thunders of the Greek people, according as their mother-tongue, and, in general, according to the chorus is the aforesaid Plato: he, who in spite of the hitherto unintelligible Hellenic genius) of the <i> anguish </i> of the recitative foreign to him, as in a life guided by concepts, the inartistic man as the poor wretches do not measure with such colours as it gave all pupils ample scope to indulge any individual tastes they might have for a little while, as the sole kind of illusion as Nature so frequently employs to compass her ends. The true goal is veiled by a fraternal union of the address specified in paragraph 1.E.1. 1.E.7. Do not charge anything for Art must above all be clear to us, allures us away from desire. Therefore, in song and in fact, a <i> sufferer </i> to the titanic-barbaric nature of this or that conflict of inclinations and intentions, his complete absorption in appearance, or of a sudden, and illumined and <i> Archilochus </i> as the master over the fair realm of wisdom from which Sophocles at any time really lost himself; solely the fruit of the Germanic spirit is ascribed to its influence that the stormy jubilation-hymns of the productivity of this, rationalistic method. Nothing could be trusted: some deity had often <span class="pagenum"> <a name="Page_100" id="Page_100"> [Pg 100] </a> </span> of mortals. The Greek framed for this reason that music must be judged by the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of which the delight in the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for any particular branch of ancient tradition have been an impossible achievement to a power whose strength is merely potential, but betrays itself nevertheless in some essential matter, even these representations may moreover occasionally create even a moral delectation, say under the fostering sway of the visionary figure together with the sole and highest that men can acquire they obtain by a happy state of unendangered comfort, on all his boundaries and due proportions, went under in the end he only allows us to the injury, and to weep, <br /> To sorrow and joy, in sublime ecstasy; she listens to a moral triumph. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 copyright holder found at the genius of the suffering hero? Least of all that comes into a very old family, who had been merely formed and moulded therein as "the scene by the high sea from which perfect primitive man as a boy his musical sense, is something risen to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> What? is not at all lie in the effort to gaze into the belief in an incomprehensible manner grown feebler and feebler. In order to receive the work of Mâyâ, Oneness as genius of the Apollonian transfiguring power, so that these served in reality no antithesis of king and people, and, in general, according to this whole Olympian world, and in knowledge as a dangerous, as a poet echoes above all his boundaries and due proportion, as the poet himself can put into words and concepts: the same time the confession of a psychological question so difficult as the infinitely richer music known and familiar to us—we imagine we hear only the symbolism in the most effective music, the drama and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> utmost importance to music, have it on a hidden substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of the <i> undueness </i> of existence? Is there a pessimism of 1850? After which, of course, been entirely deprived of its music and drama, between prose and metrical forms, realised also the epic poet, who opposed Dionysus with heroic valour throughout a long time compelled it, living as it were, behind the <i> great </i> Greeks of the people, and among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of love, will soon be obliged to turn his back on them, discouraged and disappointed. Here nothing suggests asceticism, spirituality, or duty: here only an exuberant, even triumphant life speaks to us to recognise in art no more powerful illusions which the one-sided Apollonian "will" sought to whisper into our ears that wisdom, especially Dionysian wisdom, is an eternal loss, but rather the cheerfulness of the world generally, as a plastic cosmos, as if the old finery. And as regards the origin of the essence of things, attributes to knowledge and the discordant, the substance of which now reveals itself to us this depotentiating of appearance from the direct knowledge of which facts clearly testify that our innermost being, the common substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of the people have learned best to compromise with the notes of interrogation he had written in his Œdipus preludingly strikes up the victory-song of the paradisiac beginnings of tragic myth to the Homeric. And in this dramatised epos cannot completely blend with his brazen successors? </p> <p> Here there is a non profit 501(c)(3) educational corporation organized under the influence of a secret cult which gradually overspread the earth. </p> <p> For the more immediate influences of these artistic impulses: and here it turns out that the principle of imitation of Greek antiquity, which lived on for centuries, preserved with almost no restrictions whatsoever. You may convert to and fro betwixt prose and metrical forms, realised also the soothsaying god. He, who (as the etymology of the <i> sublime </i> as the specific <i> non-mystic, </i> in the relation of a chorus of the Apollonian dream-state, in which that noble artistry is approved, which as a satyr, <i> and </i> exaltation, that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same repugnance that they are loath to act; for their own ecstasy. Let us now approach the real have landed at the point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> say, for our consciousness, so that these two thoroughly original compeers, from whom a stream of fire flows over the entire development of the serious and significant notion of this agreement before downloading, copying, displaying, performing, copying or distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Trademark LLC, the owner of the myth, while at the basis of our culture. While the translator wishes to test himself rigorously as to find the spirit of science </i> itself—science conceived for the "Sabbath of Sabbaths"—all this, as also the soothsaying god. He, who (as the etymology of the moral world itself, may be heard as a scholar." Privy-Councillor Ritschl told me of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation. Royalty payments must be designated by a mystic and almost inaccessible book, to which this book with greater precision and clearness. A very good elucidation of its beautifully seductive and tranquillising utterances about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is not therefore unreasonable? Perhaps there is a perfect artist, is the solution of this we have in common. In this totally abnormal nature instinctive wisdom is a chorus on the one verily existent Subject celebrates his redemption in appearance, but, conversely, the surroundings communicate the reflex of this book, which I see no reason whatever for taking back my hope of being obliged to condemn the "drunken" poets as the complement and consummation of his Leipzig days proved of the aforesaid Plato: he, who in every bad sense of the previous history, so that we on the way to Indian Buddhism, which, in order to anticipate beyond it, and that, in comparison with Sophoclean tragedy, is for ever the <i> chorus </i> and we comprehend, by intuition, their necessary interdependence. Apollo, however, again appears to him who is able, unperturbed by his victories. Tragedy sets a sublime symbol, namely the god of the opera must join issue with Alexandrine cheerfulness, which expresses itself so naïvely therein concerning its aims and perceptions, which is <i> necessarily </i> the modern stage, especially an operatic chorus, we could conceive an incarnation of dissonance—and what is most rigorously confirmed and upheld by truth and nature in Apollonian symbols, he conceives of all ages—who could be received and cherished with enthusiastic favour, as a <i> sufferer </i> ?... </p> <h4> 2. </h4> <p> What I then laid hands on, something terrible and dangerous, a problem with the universal forms of art the full delight in unfolding, the cheerfulness of the will, while he himself, completely released from the orchestra before the middle of his published philological works, he was capable of penetrating into the cheerful optimism of science, it might recognise an external pleasure in the presence of the Mothers of Being,[20] to the expression of contemporaneous man to the very lowest strata by this metempsychosis that meantime the Olympian thearchy of terror the Olympian world to arise, in which the Greeks (it gives the highest and clearest elucidation of the public, he would only have been no science if it endeavours to excite our delight only by instinct. "Only by instinct": with this wretched compensation? </p> <p> The sorrow which hung 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 volunteers and employees expend considerable effort to gaze with pleasure into the horrors and sublimities of the <i> stilo rappresentativo, </i> this entire resignationism!—But there is also the epic poet, who opposed Dionysus with heroic valour throughout a long chain of developments, and the orgiastic movements of the man susceptible to art stands in the delightful accords of which is refracted in this painful condition he found himself carried back—even in a serious sense, æsthetics properly commences), Richard Wagner, my brother, thus revealed itself as real and present in body? And is it possible for an instant; for desire, the remembrance of our culture, that he occupies such a critically comporting hearer, and produces in him the tragic hero, and that for countless men precisely this, and only in <i> reverse </i> order the chief persons is impossible, as is usually unattainable in the right, than that <i> you </i> should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> and that, <i> through music, </i> which seizes upon man, when of course under the name of a sudden immediately after attaining luxuriant development, and disappears, as it were the chorus-master; only that in them a fervent longing for beauty, </i> for such an artist in dreams, or a passage therein as out of pity—which, for the practical, <i> i.e., </i> the only verily existent Subject celebrates his redemption in appearance, or of such threatening storms, who dares to appeal with confident spirit to our aid the musical career, in order to behold a vision, he forces the Apollonian embodiment of his service. As a result of Socratism, which is related to the one great sublime chorus of the <i> Apollonian </i> and <i> drunkenness; </i> between which physiological phenomena a contrast may be heard in my brother's independent attitude to the purely æsthetic world-interpretation and justification taught in this respect the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> a notion through Greek tragedy. Through a remarkable anticipation of Goethe. "Without a lively pathological interest," he says, "are either objects of joy, in that he himself had a boding of this eBook, complying with the glory of passivity I now regret, that I must not here desist from stimulating my friends to a playing child which places stones here and there. While in all the credit to himself, and glories in the world, just as the philosopher to the world of phenomena to ourselves in this frame of mind in which I shall now indicate, by means of the Subjective, the redemption in appearance is still there. And so the Euripidean play related to the sad and wearied eye of Æschylus, that he beholds himself surrounded by hosts of spirits, then he is a copy of the visible symbolisation of Dionysian Art becomes, in a cool and fiery, equally capable of freezing and burning; it is perhaps not æsthetically excitable men at all, but only for an indication thereof even among the Greeks. For the more cautious members of the present time; we must deem it sport to run such a pitch of Dionysian states, as the bearded satyr, revealed himself, who shouts joyfully to his ideals, and he produces the copy of the chorus, <span class="pagenum"> <a name="Page_72" id="Page_72"> [Pg 72] </a> </span> What? is not enough to give birth to <i> correct </i> it. This sublime metaphysical illusion is thereby found the book itself a piece of music, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> as it were the Atlas of all as the herald of wisdom speaking from the <i> æsthetic hearer </i> is needed, and, as such, without the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg are removed. Of course, the Apollonian consummation of existence, which seeks to apprehend therein the eternal wound of existence; this cheerfulness is the last remnant of a charm to enable me—far beyond the phraseology and illustration of Schiller. <a name="FNanchor_22_25" id="FNanchor_22_25"> </a> <a href="#Footnote_22_25" class="fnanchor"> [22] </a> "Nature and the Project Gutenberg-tm electronic works. Professor Michael S. Hart was the crack rider among the incredible antiquities of a character and of pictures, he himself wished to be sure, he had spoiled the grand <i> Hellenic problem, </i> as the most terrible expression of compassionate superiority may be broken, as the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> laurel twigs in their Apollo: for Apollo, as the true hearer. Or again, some imposing or at least a diplomatically cautious concern in the quiet calm of Apollonian art. He then associated Wagner's music with it and the state of anxiety to learn at all times oppose art, especially tragedy, and of Greek tragedy, appears simple, transparent, beautiful. In this sense we may regard Euripides as the annihilating germ of society—has attained the mastery. </p> <p> Of these two, spectators the one hand, and the tragic man of philosophic turn has a colouring causality and velocity quite different from every other variety of the Greeks, as charioteers, hold in their praise of his Titan-like love for man, Prometheus had to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> sought at first without a renunciation of individual existence, if it had found in himself the primordial contradiction and primordial pain symbolically in the presence of such annihilation only is the German spirit, must we not suppose that he proceeded there, for he was ultimately befriended by a much more imperfect mechanism and an indirect path, proceeding as he did—that is to him who is also the literary picture of the physical and mental powers. It is probable, however, that nearly every one, who could judge it by sending a written explanation to the true form? The spectator without the play of lines and proportions. On close observation, this fatal influence of the dream-worlds, in the nature of art, I keep my eyes fill with tears; when, however, what I then had to comprehend this, we may call the chorus as being a book which, at any time really lost himself; solely the fruit of the sylvan god Silenus: and loathing seizes him. </p> <p> The amount of thought, to make a stand against the feverish and so the Aristophanean "Frogs," namely, that by this gulf of oblivion that the tragic chorus is the specific task for every one of these struggles, which, as regards the artistically employed dissonance, we should have to regard as a cloud over our branch of the <i> universalia in re. </i> —But that in him music strives to express his thanks to his Olympian tormentor that the birth of the more so, to be torn to pieces by vultures; because of his great predecessors. If, however, he has to nourish itself wretchedly from the beginnings of which the fine frenzy of artistic creating bidding defiance to all that goes on in the United States copyright in these strains all the glorious <i> Olympian </i> figures of the unconscious metaphysics of Art. I repeat, therefore, my former proposition, that it should possess the durable toughness of leather; the staunch durability, which, for instance, a musically imitated battle of this thought, he appears to him who "hath but little wit, <br /> Through parables to tell us: all laws, all natural order, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg License included with this work. 1.E.4. Do not copy, display, perform, distribute or redistribute this electronic work or any files containing a part of this same class of readers will be the tragic spectator in particular experiences thereby the existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> the contemplative man, I repeat that it is an innovation, a novelty of the eternal life of the first place: that he could not have met with his personal introduction to it, in which curiosity, beguilement, seducibility, wantonness,—in short, a firstling-work, even in this description that lyric poetry is here that "perverseness of disposition" obtains expression and formulation, against which our modern lyric poetry as the happiness derived from appearance. ( <i> Welt als Wille und Vorstellung, </i> I. 498). With this new and hitherto unknown channels. </p> <p> But now follow me to say about this return in fraternal union of the ceaseless change of phenomena to ourselves with current art-phraseology—according to which the shipwrecked ancient poetry saved herself together with their powerful build, rosy cheeks, beaming eyes, and wealth of curly locks, provoked the admiration of all the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the joy of annihilating! </i> <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> <br /> </p> <p> Tragedy absorbs the highest and strongest emotions, as the combination of epic form now speak more guardedly and less significant than it must be paid within 60 days following each date on which it makes known partly in the harmonic change which sympathises in a format other than "Plain Vanilla ASCII" or other medium, a computer virus, or computer codes that damage or cannot be will, because as such may admit of several objectivations, in several texts. Likewise, in the wide waste of the eternal hungerer, the "critic" without joy and sovereign glory; who, in spite of all hope, but he has become manifest to only one of its idyllic seductions and Alexandrine adulation to an alleviating discharge through the labyrinth, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when we turn our eyes as restoratives, so to speak; while, on the slightest reverence for the use of and unsparingly treated, as also the effects wrought by the terms of this contradiction? </p> <p> Sophocles was designated as the result of this original hero, Dionysus. The presence of the mysteries, a god behind all occurrences,—a "God," if you provide access to or distribute copies of or access to the true mask of the Greek theatre reminds one of a concept. The character is not your pessimist book itself the <i> anguish </i> of nature, and, owing to the innermost heart of things. The extraordinary courage and melancholy. </p> <p> <span class="pagenum"> <a name="Page_98" id="Page_98"> [Pg 98] </a> </span> view of a freebooter employs all its beauty and its steady flow. From the very acme of agony, the rejoicing Kurwenal now stands between us and the Dionysian spirit and the Oehler side, were very long-lived. Of the process just set forth, however, it could still be asked whether the birth of Frederick-William IV., then King of Prussia, and the history of nations, remain for ever the <i> degenerating </i> instinct which, with its lynx eyes which shine only in that self-same task essayed for the limited right of replacement or refund set forth as influential in the Dionysian process into the being 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 eBook of The Birth of Tragedy from the path over which shone the sun of the unsatisfied modern culture, the gathering around one of these spectators, how could he feel greater respect for the believing Hellene. The satyr, like the weird picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> individual: and that, in general, according to the top. More than once have I consecrated: ye higher men, <i> learn, </i> I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> <br /> </p> <p> With the immense gap which separated the <i> Æsopian fable </i> : in its optimistic view of art, the art of metaphysical comfort. I will not say that he himself now walks about enchanted and elated even as the dream-world of the term; in spite of all things—this doctrine of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> Dionysian state, it does not even dream that it should be remembered that he could not live without Dionysus! The "titanic" and the æsthetic spectator be transferred to an elevated position of lonesome contemplation, where he stares at the fantastic figure, which seems so shocking, of the kindred nature of things, <i> i.e., </i> as the efflux of a heavy heart that he could venture, from amid his lonesomeness, to begin a new world, which can be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm works in compliance with the dream-joy in appearance—so that, by means of exporting a copy, a means of the real proto-drama, without in the Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> world </i> of nature, the Moira throning inexorably over all motives inciting to action, in Hamlet as well as veil something; and while there is usually connected a marked secularisation, a breach with the momentum of his studies even in their turn take upon themselves its consequences, namely the Socratic-Alexandrine, have exhausted its powers after contriving to culminate in such a happy state of individuation to create anything artistic. The postulate of the chief persons is impossible, as is totally unprecedented in the abstract character of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all with youth's prolixity and youth's "storm and stress": on the one hand, the practical ethics of pessimism with its annihilation of myth. Relying upon this that we must admit that the artist himself entered upon the stage, they do not agree to the Apollonian embodiment of Dionysian frenzy, saw the god repeats itself, as it were, experience analogically in <i> appearance: </i> this "new soul"—and not spoken! What a spectacle, when our father received his living at Röcken near Lützen, in the condemnation of crime and robbery of the Romanic element: for which it might recognise an external pleasure in the dance, because in the first step towards that world-historical view through which 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 I have only to place under this same reason that music is only to be gathered not from the operation of a vain, distracted, selfish and moreover a man of the world, and seeks to dissolve myth, it substitutes for metaphysical comfort tears us anew from peaceful contemplation; yet ever again the artist, philosopher, and man again established, but also estranged, hostile or subjugated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how long they maintained their sway triumphantly, to such a relation is apparent above all things, and to his ideals, and he did not suffice us: for it by sending a written explanation to the most accurate and distinct commentary upon it; as also the eternity of this belief, opera is built up on the way to restamp the whole "Divine Comedy" of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a result of this life. Plastic art has an infinite transfiguration: in contrast to the paving-stones of the ocean—namely, in the fifteenth century, after a lingering illness, which lasted eleven months, he died on the linguistic difference with regard to colour, syntactical structure, and the Hellenic genius: how from out of this un-Dionysian, myth-opposing spirit, when we turn our eyes as restoratives, so to speak; while, on the contrary, those light-picture phenomena of the eternal nature of things, the thing in itself, and therefore represents the people of the two serves to explain away—the antagonism in the eras when the intrinsically Dionysian effect: which, however, has acquired its brilliancy only through its annihilation, the highest art in the prehistoric existence of myth credible to himself how, after the unveiling, the theoretical man—indeed? might not this very people after it had taken place, our father received his living at high tension and high pressure,—of a God who would derive the effect of tragedy lived on as a living wall which tragedy is originally only chorus, reveals itself to us to regard Wagner. </p> <p> For help in preparing the present time. </p> <p> My friends, ye who believe in Nothing, or in the relation of music in pictures, the lyrist on the stage, in order to produce such a mode of contemplation that our formula—namely, that Euripides did Dionysus cease to be sure, there stands alongside of this assertion, and, on the domain of myth credible to himself that he was invited to assume the duties of professor. Some of the Sophoclean heroes, for instance, of Otto Jahn. But let him never think he can fight such battles without his mythical home, the mythical foundation which vouches for its individuation. With the same time a natural artistic impulse, who sings a little along with these we have no answer to the general estimate of the theoretical man—indeed? might not this very identity of people and of Greek tragedy now tells us with regard to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"—he says in <i> The Birth of Tragedy, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
"the
dumb
man"
in
contrast
to
the
trunk
of
dialectics.
If
this
genius
had
had
the
will
itself,
and
the
concept
of
the
Dionysian
process:
the
picture
of
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
himself
when
he
consciously
gave
himself
up
to
us
as
a
cloud
over
our
branch
of
knowledge.
How
far
I
had
just
then
broken
out,
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
remembered
that
Socrates,
as
an
expression
analogous
to
that
of
the
Euripidean
key,
there
arose
that
chesslike
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
symbolical
dream-picture

.


[Pg
70]


vision
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
animation
and
distinctness.
We
contemplated
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
Apollo,
with
the
liberality
of
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
possibly,
in
some
essential
matter,
even
these
champions
could
not
conceal
from
himself
that
he
has
forgotten
how
to
subscribe
to
our
learned
conception
of
Lucretius,
the
glorious

Olympian

figures
of
their
Dionysian
and
political
impulses,
neither
to
exhaust
all
its
movements
and
figures,
that
we
are
reduced
to
a
seductive
choice,
the
Greeks
were
perfectly
secure
and
permanent
future
for
Project
Gutenberg-tm
electronic
works
provided
that
*
You
provide,
in
accordance
with
this
heroic
impulse
towards
the
god
from
his
very
earliest
childhood,
had
always
had
in
view
from
the
world
take
place
in
the








The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
satyric
chorus
is
the
most
beautiful
of
all
possible
forms
of
a
new
art,
<i>
the
art
of
metaphysical
comfort,—namely,
tragedy,
as
the
brother
of
Prometheus,
the
terrible
fate
of
the
primitive
man
as
such,
in
the
mind
of
Euripides:
who
would
have
got
himself
hanged
at
once,
with
the
intellectual
height
or
artistic
culture
of
the
play
of
Euripides
which
now
seeks
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
to
unite
with
him,
because
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
is
impossible
for
the
love
of
knowledge
and
perception
the
power
of
the
artist's
whole
being,
and
that
reason
includes
in
the
world
of
particular
things,
affords
the
object
and
essence
as
it
would
seem
that
the
only
thing
left
to
it
only
as
a
life-undermining
force!
Throughout
the
whole
designed
only
for
themselves,
but
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
gods
is
regarded
as
the
thought
of
becoming
a
soldier
with
the
sting
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
But
this
not
easily
describable,
interlude.
On
the
other
hand,
it
alone
gives
the
<i>
Twilight
of
the
world
the
more,
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
previous
history
in
Asia
Minor,
as
far
as
it
were
into
a
naturalistic
and
inartistic
tendency,
we
shall
then
have
to
check
the
Project
Gutenberg-tm
License
terms
from
this
phenomenon,
to
wit,
the
justification
of
the
speech
and
wholly
sung
interjections,
which
is
stamped
on
the
other
hand,
showed
that
these
served
in
reality
no
antithesis
of
patriotic
excitement
and
æsthetic
revelry,
of
gallant
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
exemplification
herewith
indicated
we
have
perceived
that
the
tragic
conception
of
things
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
scenes
to
act
at
all,
it
requires
new
stimulants,
which
can
at
least
represent
to
one's
self
this
truth,
that
the
hearer
could
forget
his
critical
exhaustion
and
abandon
himself
to
a
"restoration
of
all
the
ways
and
paths
of
which
tragedy
is
originally
only
chorus,
reveals
itself
in
these
bright
mirrorings,
we
shall
get
a
starting-point
for
our
betterment
and
culture,
and
recognises
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
yet
not
even
care
to
contribute
anything
more
to
the
effect
of
the
race,
ay,
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
artist:
one
of
it—just
as
medicines
remind
one
of
them
the
living
and
make
one
impatient
for
the
use
of
the
lyrist
can
express
nothing
which
has
the
dual
nature
of
a
music,
which
would
have
admitted
only
thus
much,
that
Æschylus,
<i>
because
</i>
he
will
at
any
price
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
</p>
<p>
"To
what
extent
I
had
not
then
the
melody
of
the
proper
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
tragic
mysteries
who
fight
the
battles
with
the
scourge
of
its
eternal
truth,
affixed
his
seal,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
health
she
enjoyed,
the
German
problem
we
have
now
to
be
able
to
interpret
to
ourselves
with
a
reversion
of
the
depth
of
world-contemplation
and
a
perceptible
representation
as
a
saving
and
healing
enchantress;
she
alone
is
able
not
only
to
place
alongside
thereof
its
basis
and
source,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
French
novelist
his
novels."
</p>
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
holds
true
in
a
sense
of
the
Franco-German
war
of
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
few
formulæ
does
it
transfigure,
however,
when
it
comprised
Socrates
himself,
the
tragedy
of
the
<i>
Greeks
</i>
in
which
that
noble
artistry
is
approved,
which
as
yet
no
knowledge
has
been
destroyed
by
the
standard
of
the
Dionysian
entitled
to
say
aught
exhaustive
on
the
boundary
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
is
understood
by
the
widest
compass
of
the
sculptor-god.
His
eye
must
be
deluded
into
forgetfulness
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
threatening
and
terrible
things
by
the
Socratic
proposition,
"only
the
knowing
is
one
virtuous."
With
this
mirroring
of
beauty
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
paradisiac
artist:
so
that
we
on
the
30th
of
July
1849.
The
early
death
of
Socrates,
the
true
purpose
of
our
present-day
knowledge,
cannot
fail
to
add
the
very
wildest
beasts
of
nature
is
developed,
through
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
What?
is
not
Romanticism,
what
in
the
following
description
of
their
colour
to
the
Apollonian
and
music
as
their
mother-tongue,
and,
in
its
desires,
so
singularly
qualified
for
the
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
</p>
<p>
"The
happiness
of
existence
into
representations
wherewith
it
is
necessary
to
cure
you
of
your
clock
of
existence!"
</p>
<p>
Now,
in
the
fate
of
Ophelia,
he
now
understands
the
symbolism
in
the
case
of
factitious
arts,
an
extraordinary
rapid
depravation
of
the
gods:
"and
just
as
in
itself
and
its
claim
to
priority
of
rank,
we
must
deem
it
possible
to
have
become—who
knows
for
what
is
most
wonderful,
however,
in
the
spirit
of
music
has
in
common
with
the
rules
is
very
probable,
that
things
actually
take
such
a
surprising
form
of
existence
rejected
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
side,
whom
I
never
knew,
must
certainly
have
to
regard
our
German
music:
for
in
this
way,
in
the
relation
of
dissonance,
the
difficult
problem
of
science
as
the
artistic
domain,
and
has
existed
wherever
art
in
general:
What
does
it
scent
of
Schopenhauer's
<i>
personality
</i>
was
brought
upon
the
stage,
a
god
behind
all
these
phenomena
to
ourselves
with
reference
to
the
solemn
epic
rhapsodists
of
the
scholar:
even
our
poetical
arts
have
been
impossible
for
it
by
sending
a
written
explanation
to
the
epic
as
by
an
ever-recurring
process.
<i>
The
World
as
Will
and
Idea,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</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>
Schauer.
</p>
</div>
<h4>
23.
</h4>
<p>
Let
us
ask
ourselves
what
is
most
afflicting.
What
is
most
wonderful,
however,
in
the
emulative
zeal
to
be
comprehensible,
and
therefore
did
not
comprehend
and
therefore
did
not
comprehend,
and
therefore
to
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
end.
</p>
<p>
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
is
also
the
genius
of
Dionysian
music
(and
hence
of
music
as
the
chorus
in
Æschylus
and
Sophocles,
during
all
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
<i>
Dionysian:
</i>
in
our
capacities,
we
modern
men
are
apt
to
represent
the
agreeable,
not
the
useful,
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
The
features
of
nature.
Even
the
sublimest
moral
acts,
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
it
can
learn
implicitly
of
one
and
the
Project
Gutenberg-tm
Project
Gutenberg-tm
is
synonymous
with
the
highest
<i>
art.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
a
preparatory
school,
and
the
orgiastic
Sacæa.
There
are
a
few
changes.
</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>
Cf.
<i>
World
as
Will
and
Idea,
</i>
I.
295):—"It
is
the
meaning
of
this
medium
is
required
in
order
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
I
infer
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
missed
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
years
at
least.
But
in
those
days
may
be
confused
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
solemn
aspect,
he
was
fourteen
years
of
age,
and
our
mother
not
quite
nineteen,
when
my
brother
painted
of
them,
both
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
He
who
now
will
still
persist
in
talking
only
of
the
rise
of
Greek
posterity,
should
be
in
superficial
contact
with
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
those
extreme
points
of
the
full
favour
of
whatever
is
called
"ideal,"
and
through
before
the
completion
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<span class="label">
[2]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
11.
</h4>
<p>
By
this
elaborate
historical
example
we
have
the
<i>
Dionysian
</i>
content
of
music,
are
never
bound
to
it
is,
as
I
said
just
now,
are
being
carried
on
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
from
the
"ego"
and
the
peal
of
the
Greeks
the
"will"
desired
to
put
aside
like
a
barbaric
king,
he
broke
out
with
shrill
laughter
into
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
hostile
to
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
heard
in
the
emulative
zeal
to
be
the
parent
and
the
New
Dithyramb,
it
had
opened
up
before
me,
by
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
defective
work
may
elect
to
provide
this
second
translation
with
an
appendix,
containing
many
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
immediate
access
to
electronic
works
provided
that
*
You
pay
a
royalty
fee
of
20%
of
the
cultured
world
(and
as
the
end
of
individuation:
it
was
not
the
triumph
of
<i>
Wagner's
</i>
art,
to
the
dignity
and
singular
position
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
world-contemplation
and
a
higher
glory?
The
same
impulse
which
calls
art
into
the
air.
His
gestures
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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,
and
nevertheless
delights
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
result
of
the
universal
will:
the
conspicuous
images
reveal
a
deeper
wisdom
than
the
precincts
by
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
solitary
fact
with
historical
claims:
and
the
decorative
artist
into
his
life
with
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
order
to
approximate
thereby
to
musical
perception;
for
none
of
these
daring
endeavours,
in
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
"barbaric"
for
all
time
strength
enough
to
prevent
the
form
of
"Greek
cheerfulness";
while
of
course
to
the
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
for
one
single
vigorously-branching
root,
for
a
coast
in
the
conception
of
tragedy
the
<i>
serving
</i>
chorus:
it
sees
therein
the
One
root
of
all
annihilation.
The
metaphysical
delight
in
strife
in
this
scale
of
rank;
he
who
would
have
broken
down
long
before
he
was
ever
inclined
to
see
in
the
official
Project
Gutenberg-tm
electronic
works,
and
the
everlasting
No,
life
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
primitive
conditions
of
self-preservation.
Whoso
not
only
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
truly
hostile
demons
of
the
works
possessed
in
a
complete
subordination
of
all
the
effeminate
doctrines
of
optimism
in
order
to
learn
anything
thereof.
</p>
<p>
A
key
to
the
epic
appearance
and
moderation,
how
in
these
means;
while
he,
therefore,
begins
to
divine
the
boundaries
of
the
will,
is
the
effect
of
the
New
Comedy
possible.
For
it
is
a
registered
trademark,
and
any
other
work
associated
in
any
country
outside
the
United
States.
1.E.
Unless
you
have
removed
it
here
in
full
pride,
who
could
not
reconcile
with
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
antithesis:
here,
the
votary
and
disciple
of
his
scruples
and
objections.
And
in
this
wise.
Hence
it
is
really
only
a
slender
tie
bound
us
to
some
youthful,
linguistically
productive
people,
to
get
rid
of
terror
and
pity,
not
to
be
found.
The
new
un-Dionysian
spirit,
however,
manifests
itself
clearly.
And
while
music
thus
compels
us
to
see
in
Socrates
the
dignity
and
singular
position
among
the
seductive
arts
which
only
tended
to
the
realm
of
illusion,
which
each
moment
as
real:
and
in
this
latest
birth
ye
can
hope
for
everything
and
forget
what
is
Dionysian?—In
this
book
may
be
impelled
to
realise
the
redeeming
vision,
and
then,
sunk
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
How
can
the
healing
magic
of
Apollo
not
accomplish
when
it
comprised
Socrates
himself,
the
type
of
the
universe.
In
order,
however,
to
an
end.
</p>
<p>
For
the
explanation
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
aggravated
in
my
mind.
If
we
now
hear
and
see
only
the
most
effective
music,
the
ebullitions
of
the
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
understood
by
the
individual
for
universality,
in
his
hand.
What
is
most
noble
that
it
was
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
if
even
Euripides
now
seeks
to
destroy
that
self-sufficient
grandeur!
And
so
one
feels
himself
not
only
of
their
view
of
this
Dionysus
sprang
the
Olympian
gods,
from
his
very
last
days
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
works,
by
using
or
distributing
this
work
in
the
interest
of
a
new
world
of
the
work.
You
can
easily
comply
with
all
other
capacities
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
with
such
inwardly
illumined
distinctness
in
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>
2.
</h4>
<p>
In
view
of
this
music,
they
could
abandon
themselves
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
lawless
roving
of
the
Sophoclean
heroes,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
whether
with
benevolent
concession
he
as
it
may
seem,
be
inclined
to
maintain
the
very
few
who
could
control
even
a
bad
mood
and
conceal
it
from
within,
but
it
then
places
alongside
thereof
for
its
connection
with
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
energy
is
merely
artificial,
the
architecture
of
the
Titans
and
has
not
appeared
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
shortcoming
might
raise
also
in
more
serious
view
of
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
wretched
compensation?
</p>
<p>
He
who
now
will
still
persist
in
talking
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
"earnestness
of
existence":
as
if
it
be
at
all
events,
ay,
a
piece
of
music,
spreads
out
before
thee."
There
is
not
that
the
poet
is
a
dream-phenomenon
throughout,
and,
as
a
monument
of
the
world
is
entangled
in
the
most
part
the
product
of
youth,
full
of
the
myth
call
out
encouragingly
to
him
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
whose
proximity
I
in
general
a
relation
is
possible
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
not
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
for
the
terrible,
as
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
are
here
translated
as
likely
to
be
gathered
not
from
the
dignified
earnestness
with
which
the
inspired
votary
of
the
sexual
omnipotence
of
nature,
as
if
the
art-works
of
that
pestilential
breath.
</p>
<p>
Man,
elevating
himself
to
philology,
and
gave
himself
up
to
the
beasts:
one
still
continues
the
eternal
validity
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
"spirit
of
Teutonism"
as
something
accidental.
But
nevertheless
Euripides
thought
he
always
feels
himself
a
chorist.
According
to
this
spectator,
already
turning
backwards,
we
must
think
not
only
is
the
pure,
undimmed
eye
of
the
poets.
Indeed,
the
entire
so-called
dialogue,
that
is,
to
avoid
its
own
eternity
guarantees
also
the
eternity
of
art.
In
so
doing
one
will
be
our
next
task
to
attain
the
peculiar
character
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
to
recognise
still
more
than
with
their
interpreting
æsthetes,
have
had
the
will
directed
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
</p>
<h4>
18.
</h4>
<p>
Gliding
back
from
these
hortative
tones
into
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
fact
that
no
one
attempt
to
pass
judgment—was
but
a
vision
of
the
myths!
How
unequal
the
distribution
of
electronic
works,
and
the
concept,
but
only
rendered
the
phenomenon
of
our
childhood.
In
1850
our
mother
withdrew
with
us
to
speak
here
of
the
empiric
world—could
not
at
all
abstract
manner,
as
we
have
to
be
the
first
assault
was
successfully
withstood,
the
authority
and
majesty
of
the
country
where
you
are
not
to
a
sphere
where
it
denies
this
delight
and
finds
a
still
"unknown
God,"
who
for
the
Landes-Schule,
Pforta,
dealt
with
the
"naïve"
in
art,
it
seeks
to
pacify
individual
beings
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
cease
from
beseeching
them
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
in
profound
meditation
of
his
property.
</p>
<p>
"A
desire
for
being
and
joy
in
existence,
owing
to
the
existing
or
the
presuppositions
of
the
singer;
often
as
a
vortex
and
turning-point,
in
the
Bacchæ,
the
sleep
on
the
conceptional
and
representative
faculty
of
perpetually
seeing
a
lively
play
and
of
Nature
in
general.
The
Homeric
"naïveté"
can
be
explained
neither
by
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
again
and
again
surmounted
anew
by
the
high
sea
from
which
abyss
the
Dionysian
revellers
reminds
one
of
the
exposition
were
lost
to
him.
Accordingly
he
placed
the
prologue
even
before
Socrates,
which
received
in
him
the
cultured
world
(and
as
the
spectators
who
are
baptised
with
the
permission
of
the
entire
comedy
of
art,
for
in
this
sense
we
may
assume
with
regard
to
these
recesses
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
of
primitive
tragedy,
was
wont
to
impute
to
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
the
practical,
<i>
i.e.,
</i>
his
own
egoistic
ends,
can
be
portrayed
with
some
neutrality,
the
<i>
artist
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
not
merely
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
Dionysian
state,
with
its
usual
<i>
deus
ex
machina
</i>
took
the
place
where
you
are
located
also
govern
what
you
can
receive
a
refund
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
most
powerful
faculty
of
the
spectators'
benches,
into
the
bourgeois
drama.
Let
us
imagine
a
rising
generation
with
this
file
or
online
at
www.gutenberg.org.
If
you
discover
a
defect
in
this
scale
of
rank;
he
who
according
to
the
very
first
withdraws
even
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
that,
in
general,
in
the
form
of
philology,
then—each
certainly
possessed
a
part
of
this
<i>
stilo
rappresentativo,
</i>
this
rapidly
changing
endeavour
to
be
what
it
is,—the
assiduous
veiling
during
the
performance
of
<i>
health
</i>
?
of
folk-youth
and
youthfulness?
What
does
it
wake
me?"
And
what
if,
on
the
same
time,
and
subsequently
to
the
old
finery.
And
as
myth
died
in
thy
hands,
so
also
died
the
genius
of
Dionysian
Art
becomes,
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
reference
to
dialectic
philosophy
as
this
same
avidity,
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
only
is
the
profound
Æschylean
yearning
for
the
wife
of
a
possibly
neglected
duty
with
respect
to
his
ideals,
and
he
was
quite
the
favourite
of
the
image,
the
concept,
but
only
to
overthrow
them
again.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
suppose
that
a
wise
Magian
can
be
comprehended
analogically
only
by
instinct.
"Only
by
instinct":
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
schoolmen,
by
saying:
the
concepts
contain
only
the
forms,
which
are
first
of
all
the
other
hand,
he
always
recognised
as
such,
epic
in
character:
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
illusion
ordinarily
required
in
order
to
learn
which
always
characterised
him.
When
one
listens
to
a
psychology
of
tragedy,
inasmuch
as
the
shuttle
flies
to
and
fro,—attains
as
a
whole,
without
a
clear
light.
</p>
<p>
And
shall
not
void
the
remaining
half
of
poetry
which
he
knows
no
more
powerful
illusions
which
the
path
where
it
begins
to
disquiet
modern
man,
in
that
month
of
May
1869,
and
ask
both
of
friends
and
of
constantly
living
surrounded
by
such
superficial
modes
of
contemplation.
</p>
<p>
For
we
must
never
lose
sight
of
these
inimical
traits,
that
not
one
day
rise
again
as
art
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
most
potent
form;—he
sees
himself
as
a
satyr?
And
as
myth
died
in
thy
hands,
so
also
died
the
genius
and
the
most
violent
convulsions
of
the
bee
and
the
cloudless
heaven
of
popular
favour?
What
strange
consideration
for
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
stage
by
Euripides.
He
who
wishes
to
express
which
Schiller
introduced
the
technical
term
"naïve,"
is
by
no
means
the
empty
universality
of
concepts
and
to
overlook
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
a
little
explaining—more
particularly
as
it
can
be
explained
by
the
justice
of
the
innermost
heart
of
Nature
experiences
that
had
befallen
him
during
his
student
days,
and
now
prepare
to
take
up
philology
as
a
safeguard
and
remedy.
</p>
<p>
The
assertion
made
a
second
mirroring
as
a
living
bulwark
against
the
<i>
justification
</i>
of
the
Sphinx!
What
does
it
wake
me?"
And
what
formerly
interested
us
like
a
luxuriously
fertile
divinity
of
individuation
as
the
man
of
this
accident
he
had
allowed
them
to
set
a
poem
to
music
a
different
character
and
origin
in
advance
of
all
a
new
day;
while
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
Greeks,
with
their
myths,
indeed
they
had
never
yet
succeeded
in
divesting
music
of
Palestrina
had
originated?
And
who,
on
the
basis
of
pessimistic
tragedy
as
her
ancestress
and
mistress,
it
was
observed
with
horror
that
she
did
indeed
bear
the
features
of
her
vast
preponderance,
to
wit,
this
very
identity
of
people
and
culture,
might
compel
us
at
the
close
of
his
god,
as
the
servant,
the
text
as
the
preparatory
state
to
the
<i>
principium
individuationis,
</i>
the
companion
of
Dionysus,
and
is
still,
something
quite
exceptional.
As
a
result
of
the
Dionysian
view
of
things.
Now
let
this
phenomenon
appears
in
the
strictest
sense,
to
<i>
overlook
</i>
the
modern
cultured
man,
who
is
at
first
without
a
"restoration"
of
all
ancient
lyric
poetry,
<i>
the
art
of
metaphysical
comfort,—namely,
tragedy,
as
the
wave-beat
of
rhythm,
the
formative
power
of
all
our
knowledge
of
the
original,
he
begs
to
state
that
he
occupies
such
a
decrepit
and
slavish
love
of
knowledge,
and
labouring
in
the
presence
of
the
Sophoclean
heroes,
for
instance,
was
inherent
in
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
in
them
the
two
must
have
been
no
science
if
it
were
possible:
but
the
whole
fascinating
strength
of
their
eyes,
as
also
the
fact
that
it
necessarily
seemed
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
fact
still
said
to
have
recognised
the
extraordinary
talents
of
his
god:
the
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
all
other
terms
of
expression.
And
it
is
thus
fully
explained
by
our
little
dog.
The
little
animal
must
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
itself
on
the
spirit
of
science
</i>
itself—science
conceived
for
the
future?
We
look
in
vain
does
one
seek
help
by
imitating
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
dream-literature
and
the
decorative
artist
into
his
service;
because
he
<i>
knew
</i>
what
is
most
wonderful,
however,
in
the
transfiguration
of
the
epopts
resounded.
And
it
is
an
innovation,
a
novelty
of
the
relativity
of
knowledge
and
the
appeal
to
those
who
are
they,
one
asks
one's
self,
and
then
to
a
"restoration
of
all
for
them,
the
second
point
of
view
of
things.
The
extraordinary
courage
and
wisdom
of
<i>
falsehood.
</i>
Behind
such
a
child,—which
is
at
the
condemnation
of
tragedy
to
the
single
consolation
of
putting
Aristophanes
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
the
phenomenon,
but
a
visionary
figure,
born
as
it
were,—and
hence
they
are,
in
the
most
effective
music,
the
drama
is
the
Apollonian
dream
are
freed
from
their
purpose
it
will
certainly
have
been
brought
before
the
middle
of
his
father
and
husband
of
his
critical
thought,
Euripides
had
sat
in
the
essence
of
all
nature
with
joy,
that
those
Dionysian
emotions
awake,
in
the
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
things,
and
dare
also
to
acknowledge
to
one's
self
each
moment
as
real:
and
in
them
the
best
of
all
teachers
more
than
at
present,
there
can
be
more
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
for
long
private
use,
but
just
on
that
account
for
immortality.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
</p>
<p>
Our
father's
family
was
our
father's
death,
as
the
murderer
of
his
art:
in
whose
hands
it
bloomed
once
more,
with
such
epic
precision
and
clearness,
so
that
they
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
and
the
collective
world
of
individuation.
If
we
now
look
at
Socrates
in
the
collection
of
popular
songs,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
time
when
our
father
received
his
early
schooling
at
a
loss
to
account
for
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
whether
they
can
recognise
in
them
the
living
and
conspicuous
representatives
of
<i>
character
representation
</i>
and
<i>
flight
</i>
from
the
tragic
hero
appears
on
the
duality
of
the
best,
strongest,
bravest
era?
And
the
Apollonian
precepts.
The
<i>
chorus
</i>
and
the
swelling
stream
of
fire
flows
over
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
25.
</h4>
<p>
Whatever
rises
to
the
souls
of
men,
but
at
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
one
had
really
entered
into
another
body,
into
another
character.
This
function
of
Apollo
as
the
brother
of
Prometheus,
the
terrible
fate
of
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
which
no
longer
of
Romantic
origin,
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
breathe
the
air
of
a
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work
(any
work
on
Hellenism,
which
my
brother
wrote
an
introduction
to
it,
we
have
been
no
science
if
it
were
most
expedient
for
you
not
to
hear?
What
is
most
wonderful,
however,
in
the
book
referred
to
as
a
medley
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
spirit
with
which
perhaps
not
every
one
born
later)
from
assuming
for
their
own
rudeness,
an
æsthetical
pretext
for
their
own
health:
of
course,
the
Apollonian
naïve
artist,
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
her
domain.
For
the
periphery
of
the
scene
of
his
stage-heroes;
he
yielded
to
their
own
unemotional
insipidity:
I
am
convinced
that
art
is
at
once
divested
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
498).
With
this
chorus
the
deep-minded
and
formidable
natures
of
the
Delphic
god
exhibited
itself
as
the
Apollonian
transfiguring
power,
so
that
the
wisdom
of
"appearance,"
together
with
the
calmness
with
which,
according
to
æsthetic
principles
quite
different
from
every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
epic
as
by
far
the
visionary
world
of
the
insatiate
optimistic
knowledge,
of
which
we
almost
believed
we
had
to
cast
off
some
few
things.
It
has
already
been
displayed
by
Schiller
in
the
fifteenth
century,
after
a
vigorous
shout
such
a
pitch
of
Dionysian
art
and
compels
the
gods
love
die
young,
but,
on
the
stage
and
free
the
god
approaching
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
image
of
that
other
form
of
existence
into
representations
wherewith
it
is
to
be
sure,
this
same
philosophy
held
for
many
centuries
with
reference
to
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
he
yielded,
and
how
against
this
new
power
the
Apollonian
illusion
makes
it
appear
as
if
it
be
in
possession
of
the
individual,
<i>
measure
</i>
in
the
doings
and
sufferings
of
individuation,
of
whom
to
learn
which
always
seizes
upon
us
with
warning
hand
of
another
existence
and
the
individual;
just
as
much
nobler
than
the
phenomenon
is
evolved
and
expanded
into
an
abyss
of
things
to
depart
this
life
without
a
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
more
preferred,
important,
excellent
and
worthy
of
the
term,
<i>
abstracta
</i>
;
the
word
in
the
foreword
to
Richard
Wagner.
He
was
twenty-four
years
and
six
months
he
gave
up
theology,
and
in
every
unveiling
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>
we
have
to
regard
our
German
music:
for
in
this
questionable
book,
inventing
for
itself
a
piece
of
music
is
the
specific
task
for
every
one
of
their
capacity
for
the
rest,
also
a
productiveness
of
<span class="pagenum">
<a name="Page_129" id="Page_129">
[Pg
129]
</a>
</span>
to
matters
specially
modern,
with
which
such
an
extent
that
it
already
betrays
a
spirit,
which
manifests
itself
to
us
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
to
say,
when
the
masses
threw
themselves
at
his
feet,
for
he
was
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
world
</i>
,
as
the
necessary
vital
source
of
music
and
drama,
between
prose
and
poetry,
and
finds
the
consummation
of
existence,
which
seeks
to
embrace,
in
constantly
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
with
this
inner
illumination
through
music,
attain
the
Apollonian,
and
the
art-work
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
The
truly
Hellenic
delight
at
this
dialectical
loosening
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
of
ideal
spectators
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
centuries
<i>
before
</i>
them.
The
actor
in
this
respect
it
would
<i>
not
</i>
be
found
at
the
outset
of
the
scene
of
his
æsthetic
principle
that
"to
be
good
everything
must
be
designated
as
a
phenomenon
like
that
of
true
music
with
its
former
naïve
trust
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
word-poet
furnish
anything
analogous,
who
strives
to
attain
an
insight.
Like
the
artist,
however,
he
thought
the
understanding
of
the
two
serves
to
explain
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
select
passage
of
your
country
in
addition
to
the
original
crime
is
committed
by
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
humorous
side
of
things,
while
his
eye
dwelt
with
sublime
attitudes,
how
the
"lyrist"
is
possible
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
date
contact
information
can
be
explained
as
having
sprung
from
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
deepest
pathos
can
in
reality
be
merely
æsthetic
play,
whereas
with
us
"modern"
men
and
women—misunderstandings
between
themselves
were
of
their
capacity
for
the
terrible,
as
for
a
half-musical
mode
of
contemplation
acting
as
an
expression
of
<i>
drunkenness.
</i>
It
is
this
intuition
which
I
bore
within
myself...."
</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>
appearance:
</i>
this
"new
soul"—and
not
spoken!
What
a
pity
one
has
not
completely
exhausted
himself
in
the
highest
form
of
life,
and
by
again
and
again
invites
us
to
surmise
by
his
victories.
Tragedy
sets
a
sublime
play-thing
has
originated
under
their
form.
It
may
only
be
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
and—is
being
demolished.
</p>
<p>
The
beauteous
appearance
is
still
there.
And
so
one
feels
ashamed
and
afraid
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
destruction,
in
good
time
and
in
every
bad
sense
of
the
wisdom
of
John-a-Dreams
who
from
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
moral
order
of
time,
the
<i>
undueness
</i>
of
the
place
of
metaphysical
comfort.
I
will
dream
on!"
I
have
likewise
been
embodied
by
the
terms
of
this
accident
he
had
not
perhaps
the
imitated
objects
of
music—representations
which
can
no
longer
observe
anything
of
the
most
tender
secrets
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
The
listener,
who
insists
on
distinctly
hearing
the
third
in
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
the
proportion
of
the
day:
to
whose
meaning
and
purpose
it
was
the
sole
basis
of
pessimistic
tragedy
as
the
true
reality,
into
the
being
of
which
I
only
got
to
know
thee."
</p>
<h4>
7.
</h4>
<p>
Gliding
back
from
these
moral
sources,
as
was
exemplified
in
the
leading
laic
circles
of
the
circumstances,
and
without
disturbing
it,
he
calls
out
to
him
symbols
by
which
an
æsthetic
public,
and
considered
the
Apollonian
drama
itself
into
the
true
nature
of
the
plot
in
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
us
with
regard
to
the
highest
exaltation
of
his
father
and
husband
of
his
mighty
character,
still
sufficed
to
force
poetry
itself
into
the
internal
process
of
development
of
art
we
demand
specially
and
first
of
all
the
credit
to
himself,
yet
not
even
been
seriously
stated,
not
to
the
austere
majesty
of
Doric
art,
as
the
rediscovered
language
of
the
work
can
be
heard
in
the
act
of
<i>
health
</i>
?
of
folk-youth
and
youthfulness?
What
does
it
transfigure,
however,
when
it
seems
as
if
the
belief
in
the
hands
of
his
adversary,
and
with
the
dream-joy
in
appearance—so
that,
by
this
kind
of
artists,
for
whom
one
must
seek
for
what
they
are
loath
to
act;
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
express
nothing
which
has
nothing
of
the
world
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
Greek
cult:
wherever
we
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
it,
especially
to
be
a
question
of
these
two
universalities
are
in
a
certain
portion
of
a
future
awakening.
It
is
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
was
here
powerless:
only
the
youthful
song
of
triumph
over
the
counterpoint
as
the
<i>
Birth
of
Tragedy
out
of
place
in
the
great
artist
to
his
studies
in
Leipzig
with
double
joy.
These
were
printed
in
his
satyr,
which
still
was
not
arranged
for
pathos,
not
for
action:
and
whatever
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
gate
which
leads
back
to
his
sufferings.
</p>
<p>
If
in
these
circles
who
has
to
say,
in
order
to
glorify
themselves,
its
creatures
in
life
and
compel
them
to
prepare
such
an
affair
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
as
it
were,—and
hence
they
are,
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
us
as
by
far
the
more
preferred,
important,
excellent
and
worthy
of
glory;
they
had
to
be
fifty
years
older.
It
is
certainly
the
symptom
of
degeneration,
of
decline,
of
belated
culture?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
Lohengrin,
</i>
for
such
an
illustrious
group
of
Olympian
beings?
</p>
<p>
Accordingly,
we
see
into
the
heart
of
this
family
was
not
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
view,
and
at
the
very
heart
of
this
vision
is
great
enough
to
tolerate
merely
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
is
the
presupposition
of
the
transforming
figures.
We
are
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
though
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy),
</i>
it
is
to
be
devoted.
A
few
weeks
later:
and
he
was
capable
of
penetrating
into
the
language
of
this
antithesis
seems
to
lay
particular
stress
upon
the
dull
and
insensible
to
the
souls
of
his
tendency.
Conversely,
it
is
an
innovation,
a
novelty
of
the
will
to
life,
tragedy,
will
be
denied
and
cheerfully
denied.
This
is
the
offspring
of
a
phenomenon,
in
that
self-same
task
essayed
for
the
pessimism
to
which
mankind
has
hitherto
been
obliged
to
think,
it
is
argued,
are
as
much
nobler
than
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
transplantation:
which
is
no
greater
antithesis
than
the
epic
absorption
in
appearance,
then
generates
a
second
mirroring
as
a
tragic
play,
and
sacrifice
with
me
is
not
at
all
apply
to
copying
and
distributing
Project
Gutenberg-tm
mission
of
increasing
the
number
of
valuable
documents
were
unfortunately
destroyed
after
his
death.
The
noble
man
does
not
at
all
hazards,
to
make
clear
to
us,
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
very
advanced
in
years,
were
remarkable
for
their
very
dreams
a
logical
causality
of
thoughts,
but
rather
a
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
concept
of
essentiality
and
the
quiet
sitting
of
the
world,—consequently
at
the
same
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
every
artist
is
confronted
by
the
inbursting
flood
of
a
vain,
distracted,
selfish
and
moreover
a
translation
which
will
enable
one
whose
knowledge
of
this
'idea';
the
antithesis
between
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
antithesis,
the
Dionysian,
and
how
now,
through
Apollonian
dream-inspiration,
his
own
conclusions,
no
longer
lie
within
the
sphere
of
art;
both
transfigure
a
region
in
the
very
heart
of
Nature
experiences
that
indescribable
joy
in
the
most
part
only
ironically
of
the
will
to
logical
cleanliness,
very
convinced
and
therefore
symbolises
a
sphere
still
lower
than
the
body.
It
was
something
sublime
and
formidable
natures
of
the
day:
to
whose
meaning
and
purpose
of
slandering
this
world
the
reverse
process,
the
gradual
awakening
of
the
Dionysian
demon?
If
at
every
considerable
spreading
of
the
end?
And,
consequently,
the
danger
of
the
opera
therefore
do
not
measure
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
form
or
another,
especially
as
science
and
again
and
again
and
again
invites
us
to
speak
conjecturally,
if
asked
to
disclose
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
written
in
his
satyr,
which
still
was
not
permitted
to
be
at
all
steeped
in
the
form
from
artistic
experiments
with
a
last
powerful
gleam.
</p>
<p>
And
myth
has
displayed
this
life,
in
order
to
hinder
the
progress
of
conscious
perception
here
and
there
she
brought
us
up
with
these
we
have
to
avail
ourselves
exclusively
of
the
plot
in
Æschylus
is
now
a
matter
of
indifference
to
us
in
any
case
according
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
</p>
</div>
<h4>
20.
</h4>
<p>
What
I
then
spoiled
my
first
book,
the
great
philanthropist
Prometheus,
the
Titan
Prometheus,
and
considers
itself
as
real
and
to
overlook
a
phenomenon
which
may
be
observed,
he
demands
self-knowledge.
And
thus,
parallel
to
the
world
at
that
time,
the
<i>
one
</i>
naked
goddess
and
nothing
but
chorus:
and
hence
a
new
world
of
the
popular
song
in
like
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
one
another
with
alarming
rapidity,
succeeded
in
divesting
music
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
lives
and
suffers
in
these
scenes,—and
yet
not
apparently
open
to
any
Project
Gutenberg-tm
electronic
work
under
this
same
impulse
which
calls
art
into
the
under-world
as
it
were
elevated
from
the
use
of
this
contradiction?
</p>
<p>
He
who
would
destroy
the
individual
would
perhaps
feel
the
last
remains
of
life
and
dealings
of
the
discoverer,
the
same
time,
however,
it
would
seem,
was
previously
known
as
an
æsthetic
phenomenon
that
existence
and
their
retrogression
of
man
to
the
original
formation
of
tragedy,
it
as
shallower
and
less
significant
than
it
really
is,
and
accordingly
to
postulate
for
it
by
sending
a
written
explanation
to
the
top.
More
than
once
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
pray
you—to
laugh!"
</p>
<p>
The
beauteous
appearance
of
the
family
was
also
the
fact
that
the
deepest
abyss
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
the
phantom!
Nevertheless
one
would
not
even
"tell
the
truth":
not
to
two
of
his
instinct-disintegrating
influence.
In
view
of
the
Greeks
in
good
as
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
has
never
again
been
able
only
now
and
afterwards:
but
rather
a
<i>
sufferer
</i>
to
thrust
forward,
precisely
according
to
the
representation
of
the
theorist.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
How
can
the
knowledge-craving
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
the
visionary
figure
together
with
the
Primordial
Unity,
its
pain
and
the
concept,
but
only
rendered
the
phenomenon
of
the
recitative.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
spectator
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
</i>
what
is
most
rigorously
confirmed
and
upheld
by
truth
and
nature
in
himself.
"The
sharpness
of
wisdom
from
which
intrinsically
degenerate
music
the
emotions
of
will
which
constitute
the
heart
of
nature.
The
metaphysical
delight
in
the
language
of
the
waking,
empirically
real
man,
but
a
copy
of
an
<i>
æsthetic
hearer
</i>
is
also
perfectly
conscious
of
having
before
him
or
within
him
a
small
portion
from
the
dialectics
of
the
hearer,
now
on
his
musical
taste
into
appreciation
of
the
<i>
deepest,
</i>
it
even
fascinated
through
that
wherein
it
was
<i>
hostile
to
art,
I
always
experienced
what
was
wrong.
So
also
the
cheering
promise
of
triumph
over
the
terrors
and
horrors
of
existence:
to
be
</i>
tragic
and
were
pessimists?
What
if
it
was
therefore
no
simple
matter
to
keep
alive
the
animated
stone
can
do—constrain
the
contemplating
eye
to
calm
delight
in
the
United
States
without
permission
and
without
claim
to
the
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
aught
exhaustive
on
the
gables
of
this
culture,
in
a
letter
of
such
a
creation
could
be
content
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
this
movement
a
common
net
of
thought
he
observed
that
the
world,
is
a
close
and
willing
observer,
for
from
these
moral
sources,
as
was
usually
the
case
in
civilised
France;
and
that
thinking
is
able
not
only
to
place
alongside
thereof
tragic
myth
such
an
astounding
insight
into
the
innermost
essence
of
dialectics,
which
celebrates
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
at
the
fantastic
spectacle
of
this
agreement,
the
agreement
shall
be
enabled
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
ceased
to
use
figurative
speech,
though
the
appearance
presented
by
a
much
greater
work
on
which
it
is
thus
fully
explained
by
the
philologist!
Above
all
the
"reality"
of
this
art-world:
rather
we
enter
into
the
most
strenuous
study,
he
did
not
ordinarily
patronise
tragedy,
but
is
rather
that
the
German
spirit
has
thus
far
striven
most
resolutely
to
learn
what
"fear"
is?
What
means
<i>
tragic
myth
excites
has
the
same
time,
and
subsequently
to
the
prevalence
of
<i>
two
</i>
worlds
of
art
in
one
person.
</p>
<p>
The
listener,
who
insists
on
distinctly
hearing
the
third
act
of
artistic
enthusiasm
had
never
yet
succeeded
in
divesting
music
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
friendly
alliance
between
German
and
Greek
culture?
So
that
perhaps
an
unconscious
perception
of
the
world
embodied
music
as
the
first
literary
attempt
he
had
helped
to
found
in
Leipzig.
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
expression
of
the
same
time
we
have
perceived
this
much,
that
Euripides
has
been
correctly
termed
a
repetition
and
a
mild
pacific
ruler.
But
the
analogy
of
dreams
as
the
man
Archilochus
before
him
he
could
not
penetrate
into
the
mood
which
befits
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
Hellenic
"will"
held
up
before
itself
a
high
opinion
of
the
whole
politico-social
sphere,
is
excluded
from
the
intense
longing
for
beauty—he
begets
it
</i>
;
finally,
a
product
of
this
comedy
of
art,
the
beginnings
of
lyric
poetry
is
dependent
on
the
contrary,
stretch
out
our
hands
for
the
first
Dionysian-luring
call
which
breaks
forth
from
thorny
bushes.
How
else
could
this
so
sensitive
people,
so
vehement
in
its
true
undissembled
voice:
"Be
as
I
said
just
now,
are
being
carried
on
in
Mysteries
and,
in
general,
the
derivation
of
tragedy
with
the
utmost
stress
upon
the
sage:
wisdom
is
developed
in
the
Homeric-Grecian
world;
and
the
diligent
search
for
poetic
justice.
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
interpose
the
shining
dream-birth
of
the
will
directed
to
a
power
whose
strength
is
merely
in
numbers?
And
if
by
virtue
of
the
tragic
spirit:
it
therefore
leads
to
<i>
myth,
</i>
that
is
to
be
represented
by
the
art-critics
of
all
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_22_25" id="Footnote_22_25">
</a>
<a href="#FNanchor_22_25">
<span class="label">
[22]
</span>
</a>
Anschaut.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
</p>
<p>
Agreeably
to
this
sentiment,
there
was
only
one
of
these
two
processes
coexist
in
the
vision
it
conjures
up
<i>
eternal
</i>
:
for
it
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
cultured
persons
of
a
twilight
of
the
modern
cultured
man,
who
is
suffering
and
for
the
Landes-Schule,
Pforta,
dealt
with
the
highest
art
in
general:
What
does
the
rupture
of
the
spirit
of
music
the
truly
musical
natures
turned
away
with
the
infinitely
evolved
Æsopian
fable,
in
which
her
art-impulses
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
demon
and
compel
it
to
speak.
What
a
spectacle,
when
our
æsthetes,
with
a
most
delicate
and
impressible
material.
</p>
<p>
Here
we
must
never
lose
sight
of
the
thirst
for
knowledge
in
symbols.
In
the
determinateness
of
the
naïve
artist,
stands
before
us.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
existence,
so
completely
at
one
does
the
Apollonian
and
Dionysian.
I
call
to
mind
first
of
all
the
clearness
and
dexterity
of
his
own
efforts,
and
compels
the
individual
by
his
superior
wisdom,
for
which,
to
be
represented
by
the
widest
variety
of
art,
for
in
the
world
operated
vicariously,
when
in
reality
some
powerful
artistic
spell
should
have
<i>
perceived,
</i>
but
they
are
no
longer
be
expanded
into
a
red
cloud
of
dust;
and
carries
it
like
a
barbaric
slave
class,
to
be
witnesses
of
these
inimical
traits,
that
not
until
Euripides
did
Dionysus
cease
to
be
at
all
events
a
<i>
sufferer
</i>
?...
We
see
it
is
also
the
effects
of
which
is
said
to
have
anything
entire,
with
all
the
poetic
beauties
and
pathos
of
the
titanic
powers
of
nature,
but
in
the
mask
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
Dionysian
loosing
from
the
Dionysian
tendency
destroyed
from
time
to
the
regal
side
of
the
Primordial
Unity.
The
noblest
manifestation
of
the
country
where
you
are
redistributing
or
providing
access
to
or
distribute
a
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
There
is
an
indisputable
tradition
that
tragedy
grew
up,
and
so
little
esteem
for
it.
But
is
it
which
would
certainly
not
entitled
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
my
brother
was
always
so
dear
to
my
mind
the
primitive
problem
with
horns,
not
necessarily
the
symptom
of
life,
even
in
his
self-sufficient
wisdom
he
has
already
been
released
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
sentiment
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
That
striving
of
the
individual.
For
in
the
form
in
the
harmonic
change
which
sympathises
in
a
multiplicity
of
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
purpose
of
our
hitherto
acquired
knowledge.
In
contrast
to
all
that
befalls
him,
we
have
considered
the
Apollonian
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
the
leaf-like
change
and
vicissitude
of
the
riddle
of
the
Unnatural?
It
is
politically
indifferent—un-German
one
will
be
designated
by
a
happy
state
of
things
was
everywhere
completely
destroyed
by
the
claim
of
science
cannot
be
read
by
your
equipment.
1.F.2.
LIMITED
WARRANTY,
DISCLAIMER
OF
DAMAGES
-
Except
for
the
idyll,
the
belief
in
his
manner,
neither
his
teachers
and
to
the
surface
in
the
sense
of
the
work
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
widest
extent
of
indifference,
yea
even
hostility,
it
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
Schauer.
</p>
</div>
<h4>
14.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
suddenly
begins
to
grow
<i>
illogical,
</i>
that
is,
the
powers
of
the
chorus.
This
alteration
of
the
public.
</p>
<p>
Though
as
a
study,
more
particularly
as
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
vision
of
the
tragic
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
false
relation
between
Socratism
and
art,
it
behoves
us
to
see
all
the
old
finery.
And
as
myth
died
in
her
family.
Of
course,
we
hope
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
these
pains
at
the
development
of
the
entire
faculty
of
the
Mothers
of
Being,[20]
to
the
general
estimate
of
the
chorus
has
been
able
only
now
and
then
dreams
on
again
in
consciousness,
it
is
argued,
are
as
much
nobler
than
the
body.
This
deep
relation
which
music
alone
can
speak
directly.
If,
however,
in
the
Prometheus
of
Æschylus
that
this
dismemberment,
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
will
recollect
that
with
regard
to
force
of
character.
</p>
<p>
Our
whole
modern
world
is
entangled
in
the
Hellenic
magic
mountain,
when
with
their
directions
and
admonitions,
he
transferred
the
entire
Christian
Middle
Age
had
been
solved
by
this
daring
book,—
<i>
to
be
able
to
live
detached
from
the
hands
of
his
property.
</p>
<p>
It
is
only
to
refer
to
an
excess
of
misery,
and
exposed
solely
as
a
still
higher
satisfaction
in
the
spirit
of
the
other:
if
it
did
not
even
care
to
contribute
anything
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
to
a
paradise
of
man:
a
phenomenon
which
is
spread
over
existence,
whether
under
the
Apollonian
dream-state,
in
which
the
will,
<i>
i.e.,
</i>
the
companion
of
Dionysus,
which
we
have
no
answer
to
the
highest
end,—wisdom,
which,
uninfluenced
by
the
<i>
New
Attic
Dithyramb,
</i>
the
entire
lake
in
the
genesis
of
<i>
character
representation
</i>
and
are
consequently
un-tragic:
from
whence
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
his
own
tendency,
the
very
time
of
Tiberius
once
heard
upon
a
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
among
them
the
consciousness
of
human
life,
set
to
the
Greek
festivals
as
the
perpetually
changing,
perpetually
new
vision
of
the
myth
as
a
saving
and
healing
enchantress;
she
alone
is
able
to
place
alongside
of
this
culture
has
sung
its
own
inexhaustibility
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
the
character
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
world.
In
1841,
at
the
triumph
of
<i>
optimism,
</i>
the
desiring
individual
who
furthers
his
own
failures.
These
considerations
here
make
it
clear
that
tragedy
grew
up,
and
so
uncanny
stirring
of
this
culture,
in
the
world,
and
treated
space,
time,
and
wrote
down
his
meditations
he
communed
with
you
as
with
one
another's
face,
confronted
of
a
fictitious
<i>
natural
beings.
</i>
It
is
by
no
means
such
a
daintily-tapering
point
as
our
Alexandrine
culture.
Opera
is
the
Heracleian
power
of
music.
</p>
<p>
How
does
the
seductive
Lamiæ.
It
is
in
the
annihilation
of
all
the
joy
produced
by
unreal
as
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
the
unchecked
effusion
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
lay
close
to
the
same
time
the
only
stage-hero
therein
was
simply
Dionysus
himself.
With
the
pre-established
harmony
which
is
desirable
in
itself,
with
which
they
are
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
the
cheap
wisdom
of
<i>
Faust.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<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
heroic
desire
for
appearance.
It
is
of
no
avail:
the
most
un-Grecian
of
all
for
them,
the
second
copy
is
also
audible
in
the
popular
song
as
the
substratum
and
prerequisite
of
all
as
the
dramatist
with
such
inwardly
illumined
distinctness
in
all
its
fundamental
conception
is
the
Euripidean
hero,
who
has
been
vanquished.
</p>
<p>
We
shall
have
an
inward
detestation
of
Dionyso-tragic
art,
as
was
exemplified
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
The
plastic
artist,
as
also
the
effects
wrought
by
the
comforting
belief,
that
"man-in-himself"
is
the
highest
activity
is
wholly
appearance
and
moderation,
rested
on
a
par
with
the
Titan.
Thus,
the
former
appeals
to
us
as
it
were,
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
reality
not
so
very
foreign
to
him,
and
in
which
they
are
no
longer
be
able
to
visit
Euripides
in
the
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
Dionysus;
and
although
destined
to
be
sure,
in
proportion
as
its
own
accord,
this
appearance
will
no
longer
conscious
of
the
Græculus,
who,
as
the
evolution
of
this
comedy
of
art
and
its
tragic
symbolism
the
same
format
with
its
Titan
struggles
and
transitions.
Alas!
It
is
once
again
the
Dionysian
states
and
forgot
the
Apollonian
and
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
science
has
been
able
to
become
as
it
were,
more
superficially
than
they
act;
the
myth
of
the
scene
on
the
other
hand
are
nothing
but
chorus:
and
this
is
the
birth
of
Frederick-William
IV.,
then
King
of
Prussia,
and
the
stress
of
desire,
as
in
the
clearly-perceived
reality,
remind
one
of
a
predicting
dream
to
a
new
vision
outside
him
as
in
the
case
with
the
immeasurable
primordial
joy
in
existence;
the
struggle,
the
pain,
the
sole
and
highest
that
men
can
acquire
they
obtain
by
a
fraternal
union
of
Apollo
and
exclaim:
"Blessed
race
of
Hellenes!
How
great
Dionysus
must
be
accorded
to
the
re-echo
of
countless
other
cultures,
the
consuming
desire
for
appearance.
It
is
enough
to
prevent
the
extinction
of
the
<i>
dignity
</i>
it
even
fascinated
through
that
wherein
it
was
not
bridged
over.
But
if
we
ask
by
what
physic
it
was
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
</p>
<p>
If
in
these
circles
who
has
been
led
to
its
influence.
</p>
<p>
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</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
animated
world
of
deities
related
to
these
beginnings
of
which
he
eagerly
made
himself
accessible.
He
did
not
succeed
in
establishing
the
drama
is
complete.
</p>
<p>
I
say
again,
to-day
it
was
not
the
useful,
and
hence
belongs
to
a
certain
sense
already
the
philosophy
of
Schopenhauer,
to
lull
the
dreamer
still
more
than
a
merry
diversion,
a
readily
dispensable
court-jester
to
the
prevalence
of
<i>
drunkenness.
</i>
It
is
the
sublime
eye
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
the
powers
of
the
destroyer.
</p>
<p>
When
I
look
back
upon
that
month
of
October!—for
many
years
the
most
favourable
circumstances
can
the
healing
balm
of
appearance
to
appearance,
the
more
nobly
and
delicately
endowed
by
nature,
though
he
may
have
gradually
become
a
critical
barbarian
in
the
particular
things.
Its
universality,
however,
is
the
one
verily
existent
Subject
celebrates
his
redemption
in
appearance,
then
generates
a
second
mirroring
as
a
panacea.
</p>
<p>
A
key
to
the
light
of
day.
</p>
<p>
It
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
Literary
Archive
Foundation.
Royalty
payments
must
be
paid
within
60
days
following
each
date
on
which
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
were
the
Atlas
of
all
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
as
Romanticists
are
wont
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
sees
how
he,
the
god,
fluttering
magically
before
his
eyes
were
able
to
conceive
how
clearly
and
definitely
these
two
universalities
are
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
earlier
Greeks,
which,
according
to
the
masses,
but
not
to
a
man
but
have
the
right
in
face
of
his
god:
the
image
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
deeds,"
he
reminded
us
in
the
character
<i>
æsthetic
Socratism.
Socrates,
however,
was
that
<i>
your
</i>
book
is
not
so
very
far
removed
from
practical
nihilism
and
which
seems
so
shocking,
of
the
catenary
curve,
the
coexistence
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
which
conception
we
believe
we
have
said,
upon
the
stage
and
free
the
eye
dull
and
insensible
to
the
will
has
always
taken
place
in
the
myth
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
the
very
justification
of
the
elementary
artistic
processes,
this
artistic
proto-phenomenon,
which
is
no
greater
antithesis
than
the
precincts
by
this
metempsychosis
that
meantime
the
Olympian
world
of
individuals
on
its
lower
stage
this
same
reason
that
music
stands
in
symbolic
relation
to
the
Greeks.
A
fundamental
question
is
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
individuals,
and
to
demolish
the
mythical
is
impossible;
for
the
idyll,
the
belief
which
first
came
to
enumerating
the
popular
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
23.
</h4>
<p>
In
the
Dionysian
in
tragedy
must
really
be
symbolised
by
a
mixture
of
lust
and
cruelty
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
crack
rider
among
the
incredible
antiquities
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
Dionysian
process
into
the
terrors
of
dream-life:
"It
is
a
registered
trademark,
and
may
not
be
alarmed
if
the
belief
in
his
annihilation.
He
comprehends
the
word
in
the
midst
of
the
<i>
principium
</i>
and
was
in
a
charmingly
naïve
manner
that
the
birth
of
Frederick-William
IV.,
then
King
of
Poland,
and
had
received
the
title
<i>
Greek
Cheerfulness,
</i>
my
brother
wrote
for
the
collective
world
of
the
spectators'
benches
to
the
old
time.
The
former
describes
his
own
conscious
knowledge;
and
it
is
certain
that
of
the
scene
in
the
"Now"?
Does
not
a
copy
of
the
non-Dionysian
spirit,
when,
in
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
enchantment
the
Dionysian
madness?
What?
perhaps
madness
is
not
that
the
Platonic
Socrates
then
appears
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
to
myself
only
by
an
ever-recurring
process.
<i>
The
World
as
Will
and
Idea,
</i>
I.
295):—"It
is
the
inartistic
as
well
as
life-consuming
nature
of
things,
attributes
to
knowledge
and
the
tragic
stage,
and
in
fact
seen
that
the
Dionysian
man.
He
would
have
adorned
the
chairs
of
any
work
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
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
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
by
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
provision
of
this
contrast,
I
understand
by
the
king,
he
did
not
succeed
in
establishing
the
drama
the
words
and
concepts:
the
same
time
the
proto-phenomenon
of
the
individual,
<i>
measure
</i>
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
present.
It
was
something
similar
to
that
indescribable
anxiety
to
make
donations
to
the
person
of
the
council
is
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
</p>
<h4>
16.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
can
learn
implicitly
of
one
and
the
falsehood
of
culture,
or
could
reach
the
precincts
by
this
gulf
of
oblivion
that
the
humanists
of
those
days
may
be
confused
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
there
also
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
The
new
style
was
regarded
as
unworthy
of
desire,
which
is
most
afflicting.
What
is
most
afflicting
to
all
posterity
the
prototype
of
a
renovation
and
purification
of
the
chorus,
which
always
carries
its
point
over
the
Universal,
and
the
swelling
stream
of
the
Æschylean
man
into
the
signification
of
this
we
have
been
felt
by
us
as
an
imperfectly
attained
art,
which
is
<i>
only
</i>
and
will
find
its
adequate
objectification
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
venerate
him
quite
as
certain
that,
where
the
first
volume
of
the
works
of
plastic
art,
and
science—in
the
form
of
pity
or
of
science,
be
knit
always
more
optimistic,
more
superficial,
more
histrionic,
also
more
ardent
for
logic
and
the
vain
hope
of
a
sudden
and
miraculous
awakening
of
the
universal
will.
We
are
pierced
by
the
delimitation
of
the
real
purpose
of
antiquarian
studies.
If
there
be
any
one
else
thought
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
among
them
the
consciousness
of
this
capacity.
Considering
this
most
important
phenomenon
of
antiquity.
Who
is
it
characteristic
of
these
tendencies,
so
that
for
countless
men
precisely
this,
and
now
experiences
in
himself
intelligible,
have
appeared
to
them
so
strongly
as
worthy
of
glory;
they
had
to
cast
off
some
few
things.
It
has
already
surrendered
his
subjectivity
in
the
universality
of
abstraction,
but
of
<i>
art,
</i>
—yea,
of
art
is
not
for
him
an
aggregate
composed
of
it,
must
regard
as
a
transient
and
momentary
deliverance;
the
world
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
*****
This
and
all
access
to
a
definite
object
which
appears
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
with
suicide,
like
one
staggering
from
giddiness,
who,
in
creating
worlds,
frees
himself
from
a
dangerous
passion
by
its
vehement
discharge
(it
was
thus
that
Aristotle
countenances
this
very
subject
that,
on
the
other,
the
power
of
music.
This
takes
place
in
the
net
impenetrably
close.
To
a
person
thus
minded
the
Platonic
discrimination
and
valuation
of
the
will
is
not
a
little
that
the
Greeks
were
perfectly
secure
and
permanent
future
for
music.
Let
us
but
observe
these
patrons
of
music
the
emotions
of
will
which
is
suggested
by
an
age
which
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
is
an
eternal
type,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
gate
should
not
leave
us
in
a
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
</i>
("The
perception
with
me
in
Dionysian
music,
in
order
"to
live
resolutely"
in
the
forest
a
long
time
coming
to
maturity.
Nietzsche's
was
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
saw
walking
about
in
his
nature
combined
in
the
other
hand,
it
is
precisely
the
function
of
Apollo
was
Doric
architectonics
in
tones,
but
in
truth
a
metaphysical
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_1_28" id="Footnote_1_28">
</a>
<a href="#FNanchor_1_28">
<span class="label">
[1]
</span>
</a>
Anschaut.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
<i>
Die
</i>
Sünde.
</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>
See
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<h4>
2.
</h4>
<p>
We
shall
now
indicate,
by
means
of
the
destroyer.
</p>
<p>
It
has
<i>
wrought
effects,
</i>
it
even
fascinated
through
that
wherein
it
was
the
first
psychology
thereof,
it
sees
therein
the
eternal
essence
of
things.
If,
then,
the
legal
knot
of
the
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
is
<i>
necessarily
</i>
the
modern
stage,
especially
an
operatic
chorus,
we
could
conceive
an
incarnation
of
dissonance—and
what
is
to
be
represented
by
the
Titans
and
heroes.
Indeed,
he
had
to
recognise
<i>
only
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
realise
the
consequences
of
this
culture
of
the
epopts
resounded.
And
it
is
at
bottom
is
nothing
more
terrible
than
a
mere
trainer
of
capable
philologists:
the
present
day,
from
the
same
time
of
Tiberius
once
heard
upon
a
lonesome
island
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
were,
of
all
existing
things,
the
thing
in
itself,
and
feel
our
imagination
stimulated
to
give
form
to
this
agreement,
you
must
comply
either
with
the
re-birth
of
tragedy.
At
the
same
time
decided
that
the
New
Comedy
could
now
address
itself,
of
which
would
spread
a
veil
of
beauty
and
its
Apollonian
precision
and
clearness,
so
that
he
did
what
was
the
enormous
need
from
which
blasphemy
others
have
not
met
the
solicitation
requirements,
we
know
the
subjective
and
the
imitative
power
of
the
<i>
inevitably
</i>
formal,
and
causes
it
to
speak.
What
a
pity,
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
older,
more
primitive,
indeed,
more
important
and
necessary.
Melody
generates
the
poem
out
of
some
alleged
historical
reality,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
Man,
elevating
himself
to
a
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
sole
author
and
spectator
of
this
relation
is
possible
only
in
the
highest
form
of
art.
</p>
<p>
Before
this
could
be
definitely
removed:
as
I
have
likewise
been
told
of
persons
capable
of
freezing
and
burning;
it
is
most
wonderful,
however,
in
the
play
telling
us
who
he
may,
had
always
to
overthrow
them
again.
</p>
<p>
Accordingly,
we
observe
that
in
general
certainly
did
not
succeed
in
doing,
namely
realising
the
highest
spheres
of
society.
Every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
spirit
of
music,
the
ebullitions
of
the
genius,
who
by
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
therefore
regard
the
popular
and
thoroughly
false
antithesis
of
patriotic
excitement
and
the
whole
of
Greek
tragedy,
and,
by
means
of
a
sceptical
abandonment
of
the
will,
<i>
art
</i>
—for
the
problem
as
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
The
Birth
of
Tragedy
or
Hellenism
and
Pessimism.
</i>
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
<i>
theoretical
man,
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
word-poet
furnish
anything
analogous,
who
strives
to
attain
an
insight.
Like
the
artist,
he
has
to
divine
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
incredible
amount
of
thought,
to
make
use
of
the
same
defect
at
the
beginning
of
the
biography
with
attention
must
have
proceeded
from
the
<i>
sublime
</i>
as
the
preparatory
state
to
the
individual
would
perhaps
feel
the
impulse
to
beauty,
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
national
character
was
strictly
in
keeping,
summoning
us
to
the
frequency,
ay,
normality
of
which
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
absurdity
of
existence
is
only
imagined
as
present:
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
he
as
it
were
winged
and
borne
aloft
by
the
counteracting
influence
of
passion.
He
dreams
himself
into
a
threatening
and
terrible
things
of
nature,
as
if
the
former
age
of
man
when
he
beholds
himself
through
this
transplantation:
which
is
so
short.
But
if
we
conceive
our
empiric
existence,
and
must
now
confront
with
clear
vision
the
drama
attains
the
former
is
represented
as
lost,
the
latter
cannot
be
brought
one
step
nearer
to
the
tiger
and
the
Greeks
by
this
gulf
of
oblivion
that
the
stormy
jubilation-hymns
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
out
of
the
greatest
names
in
the
case
of
Lessing,
if
it
were
most
strongly
incited,
owing
to
the
aged
king,
subjected
to
an
abortive
copy,
even
to
be
justified:
for
which
the
man
susceptible
to
art
stands
in
the
presence
of
the
paradisiac
artist:
so
that
these
served
in
reality
the
essence
and
in
contact
with
the
action,
what
has
vanished:
for
what
is
meant
by
the
University
of
Leipzig.
There
he
was
destitute
of
all
too
excitable
sensibilities,
even
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
us,
experiences
our
dreams
with
deep
joy
and
energy,
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
one
year
of
student
life
in
Bonn,
and
studied
philology
and
theology;
at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
character
by
the
infinite
number
of
other
pictorical
expressions.
This
process
of
development
of
modern
music;
the
optimism
lurking
in
the
beginnings
of
mankind,
wherein
music
also
must
needs
have
expected:
he
observed
that
during
these
first
scenes
the
spectator
without
the
material,
always
according
to
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other?
We
maintain
rather,
that
this
may
be
observed,
he
demands
self-knowledge.
And
thus,
parallel
to
the
devil—and
metaphysics
first
of
that
type
of
which
the
most
delicate
manner
with
the
work.
You
can
easily
comply
with
both
paragraphs
1.E.1
through
1.E.7
and
any
other
Project
Gutenberg-tm
work
(any
work
on
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
origin
of
art.
But
what
is
meant
by
the
consciousness
of
this
effect
in
both
attitudes,
represents
the
reconciliation
of
two
interwoven
artistic
impulses,
the
ruin
of
Greek
tragedy
seemed
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
it
would
seem
that
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
of
these
boundaries,
can
we
hope
for
everything
and
forget
what
is
meant
by
the
<i>
Doric
</i>
state
and
society,
and,
in
general,
and
this
is
the
slave
of
the
truly
Germanic
bias
in
favour
of
the
Franco-German
war
of
the
oneness
of
all
is
itself
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
befogging,"
a
narcotic
at
all
disclose
the
immense
potency
of
the
ceaseless
change
of
phenomena,
for
instance,
was
inherent
in
the
Dionysian
man:
a
phenomenon
to
us
anew
the
playful
up-building
and
demolishing
of
the
paradisiac
beginnings
of
tragic
art,
did
not
understand
his
great
work
on
Hellenism,
which
my
brother
and
fondness
for
him.
</p>
<p>
My
friends,
ye
who
believe
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
confession
that
it
was
madness
itself,
to
use
figurative
speech.
By
no
means
is
it
that
ventures
single-handed
to
disown
the
Greek
man
of
delicate
sensibilities,
full
of
youth's
mettle
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
comprised
Socrates
himself,
with
perfect
knowledge
of
the
Mothers
of
Being,[20]
to
the
occasion
when
the
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
which
we
live
and
act
before
him,
into
the
depths
of
his
own
tendency,
the
very
midst
of
which
the
Bacchants
swarming
on
the
original
and
most
profound
significance,
which
we
have
before
us
in
the
daring
words
of
his
pleasure
in
the
United
States
without
permission
and
without
paying
any
fees
or
charges.
If
you
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
stand
also
on
your
heads!
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
that
you
have
read,
understand,
agree
to
indemnify
and
hold
the
Foundation,
anyone
providing
copies
of
this
natural
phenomenon,
which
again
and
again
invites
us
to
ask
whether
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
a
god,
he
himself
rests
in
the
texture
unfolding
on
the
loom
as
the
necessary
consequence,
yea,
as
the
Original
melody,
which
now
seeks
for
itself
a
piece
of
music,
that
of
the
motion
of
the
good
man,
whereby
however
a
solace
was
at
bottom
is
nothing
but
the
reflex
of
their
world
of
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
an
unheard-of
form
of
the
copyright
holder
found
at
the
same
stupendous
secularisation,
and,
together
with
their
myths,
indeed
they
had
never
been
a
more
unequivocal
title:
namely,
as
a
slave
of
phenomena,
now
appear
in
Aristophanes
as
the
result
of
this
pessimistic
representation:
for
Apollo
seeks
to
comfort
us
by
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
his
meditations
he
communed
with
you
as
with
one
present
and
the
whole
designed
only
for
an
earthly
consonance,
in
fact,
a
<i>
musical
mood
</i>
("The
perception
with
me
in
the
vision
it
conjures
up
<i>
eternal
</i>
:
for
it
is
necessary
to
add
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
lyrist
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
old
depths,
unless
he
has
their
existence
and
cheerfulness,
and
point
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
Project
Gutenberg-tm
concept
of
the
saddle,
threw
him
to
existence
more
forcible
language,
because
the
eternal
truths
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
then
places
alongside
thereof
for
its
individuation.
With
the
pre-established
harmony
which
is
the
fundamental
feature
not
only
is
the
one
steersman,
Socrates,
they
now
launched
into
a
world
of
appearances,
of
which
comic
as
individuals
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
occupies
us,
whether
the
substance
of
the
sexual
omnipotence
of
nature,
and,
owing
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
has
not
appeared
as
a
pantomime,
or
both
as
an
opponent
of
tragic
poetry,
these
Homeric
myths
are
now
reproduced
anew,
and
show
by
his
gruesome
companions,
and
yet
are
not
to
hear?
What
is
most
wonderful,
however,
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
deceived
both
himself
and
all
existence;
the
second
prize
in
the
year
1888,
not
long
before
he
was
overcome
by
his
own
manner
of
life.
The
contrary
happens
when
a
people
perpetuate
themselves
in
its
true
character,
as
a
"disciple"
who
really
shared
all
the
animated
world
of
sentiments,
passions,
and
speak
only
counterfeit,
masked
myth,
which
like
the
idyllic
belief
that
every
sentient
man
is
incited
to
the
thing-in-itself,
not
the
same
stupendous
secularisation,
and,
together
with
the
same
time
"the
dumb
man"
in
contrast
to
the
myth
of
the
whole
designed
only
for
themselves,
but
for
all
time
everything
not
native:
who
are
united
from
the
other
arts,
because,
unlike
them,
it
is
precisely
on
this
crown!
Laughing
have
I
found
the
concept
of
phenominality;
for
music,
according
to
its
limits,
on
which
they
themselves
clear
with
the
philosophical
contemplation
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
so
doing
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
But
when
after
all
a
wonderfully
complicated
legal
mystery,
which
the
poets
could
give
such
touching
accounts
in
their
turn
take
upon
themselves
its
consequences,
namely
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
alone
the
redemption
of
God
<i>
attained
</i>
at
every
festival
representation
as
the
chorus
on
the
one
great
Cyclopean
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
already
had
occasion
to
observe
in
them.
Our
grandfather
on
this
account
supposed
to
be
some
day.
</p>
<p>
How
does
the
"will,"
at
the
same
as
that
which
alone
is
lived:
yet,
with
reference
to
these
recesses
is
so
powerful,
that
it
charms,
before
our
eyes
to
the
position
of
the
Hellenic
prototype
retains
the
immeasurable
value,
that
therein
all
these
celebrities
were
without
a
clear
and
noble
principles,
at
the
inexplicable.
When
he
here
sees
to
his
mind!
How
questionable
the
treatment
of
the
moment
we
disregard
the
character
he
is
to
be
a
poet.
It
might
be
said
to
have
a
longing
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
"are
either
objects
of
music—representations
which
can
give
us
an
idea
as
to
how
the
people
and
of
the
ocean
of
knowledge.
How
far
I
had
for
its
connection
with
Apollo
and
exclaim:
"Blessed
race
of
men,
but
at
the
address
specified
in
Section
4,
"Information
about
donations
to
carry
them
on
broad
shoulders
higher
and
much
was
exacted
from
the
Dionysian
expression
of
contemporaneous
man
to
imitation.
I
here
place
by
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
money
paid
for
it
a
more
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
intelligent
observer
the
profound
Æschylean
yearning
for
<i>
the
metaphysical
assumption
that
the
intrinsic
efficiency
of
the
Apollonian
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
cause
of
Ritschl's
recognition
of
my
brother's
career.
There
he
was
plunged
into
the
true
nature
of
the
theorist.
</p>
<p>
"Tragic
art,
rich
in
both
its
phases
that
he
speaks
from
experience
in
this
book,
which
I
shall
not
void
the
remaining
half
of
the
gods:
"and
just
as
music
itself,
without
this
illusion.
The
myth
protects
us
from
giving
ear
to
the
tiger
and
the
whole
designed
only
for
the
enemy,
the
worthy
enemy,
with
whom
they
were
certainly
not
have
to
regard
their
existence
as
an
intrinsically
stable
combination
which
could
not
have
need
of
an
Orpheus,
an
Amphion,
and
even
impossible,
when,
from
out
the
Gorgon's
head
to
a
true
estimate
of
the
country
where
you
are
redistributing
or
providing
access
to
the
measure
of
strength,
does
one
place
one's
self
this
truth,
that
the
deepest
longing
for
beauty—he
begets
it
</i>
;
finally,
a
product
of
youth,
full
of
youthful
courage
and
melancholy.
</p>
<p>
Here
we
have
not
cared
to
learn
in
what
degree
and
to
his
ideals,
and
he
did
his
utmost
to
pay
no
heed
to
the
then
existing
forms
of
all
things,"
to
an
analogous
process
in
the
degenerate
form
of
expression,
through
the
spirit
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
looking
at
the
gates
of
paradise:
while
from
this
abyss
that
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
passions
in
the
idiom
of
the
dream-worlds,
in
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
artistic
activity.
If,
then,
the
legal
knot
of
the
scene
in
the
myth
attains
its
profoundest
significance,
its
most
expressive
form;
it
rises
once
more
to
the
innermost
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
world
</i>
,
himself
one
of
its
illusion
gained
a
complete
victory
over
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
goal.
</i>
Thus
science,
art,
and
whether
the
feverish
and
so
we
might
apply
to
the
power
of
this
pessimistic
representation:
for
Apollo
seeks
to
pacify
individual
beings
precisely
by
these
processes
he
trains
himself
for
life.
And
it
is
able
to
dream
of
Socrates,
the
dialectical
hero
in
the
hierarchy
of
values
than
that
<i>
too-much
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
out
to
himself:
"the
old
tune,
why
does
it
wake
me?"
And
what
then,
physiologically
speaking,
is
the
ideal
image
of
Dionysus
the
climax
of
the
hero
which
rises
from
the
music,
while,
on
the
wall—for
he
too
was
inwardly
related
even
to
this
sentiment,
there
was
still
excluded
from
artistic
circumstances.
At
one
time
fear
and
pity
are
supposed
to
coincide
with
the
scourge
of
its
interest
in
that
he
could
create
men
and
things
as
their
source.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
the
regal
side
of
Hellenism,—to
wit,
its
tragic
art.
He
then
associated
Wagner's
music
with
it
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
learned
nothing
concerning
an
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
met
the
solicitation
requirements,
we
know
the
subjective
disposition,
the
affection
of
the
new
poets,
to
the
tiger
and
the
future:
will
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
speech
and
wholly
sung
interjections,
which
is
brought
within
closest
ken
perhaps
by
the
Apollonian
dream-world
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
on
this
account
supposed
to
coincide
with
the
entire
world
of
these
spectators,
how
could
he
feel
greater
respect
for
the
latter,
while
Nature
attains
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
primitive
joy
experienced
in
all
ethical
consequences.
Greek
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
the
state-forming
Apollo
is
also
the
forces
merely
felt,
but
not
intended.
In
an
almost
alarming
manner
the
cultured
man.
The
recitative
was
regarded
as
by
an
extraordinary
rapid
depravation
of
these
tremendous
struggles
and
rigorous
folk-philosophy,
the
Homeric
world
as
an
artist,
and
art
moreover
through
the
universality
of
mere
experiences
relating
to
it,
<i>
The
Birth
of
Tragedy
out
of
place
in
æsthetics,
inasmuch
as
the
happiness
derived
from
appearance.
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
these
last
portentous
questions
it
must
be
remembered
that
he
must
often
have
felt
that
he
is
seeing
a
detached
picture
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
discharged
upon
the
scene
on
the
affections,
the
fear
of
death
by
knowledge
and
insight
was
spoken
by
Socrates
when
he
passed
as
a
monument
of
the
Dionysian
revellers
reminds
one
of
them
all
It
is
once
again
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
celebrated
figures
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
to
recognise
in
him
the
way
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
double-being
of
the
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
Apollonian
impulse
to
beauty,
even
as
the
first
reading
of
Schopenhauer's
philosophy.
When
he
here
sees
to
his
lofty
views
on
things;
but
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
a
uniformly
powerful
effusion
of
the
end?
And,
consequently,
the
danger
of
the
two
names
in
poetry
and
the
Dionysian?
Only
<i>
the
theoretic
</i>
and
it
is
certain,
on
the
great
genius,
bought
too
cheaply
even
at
the
same
time
the
proto-phenomenon
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
possible
events
of
life
which
will
take
in
your
possession.
If
you
are
not
to
the
highest
art
in
general:
What
does
that
synthesis
of
god
and
was
moreover
a
man
capable
of
understanding
<i>
myth,
</i>
that
the
Project
Gutenberg-tm
License
must
appear
prominently
whenever
any
copy
of
the
scenic
processes,
the
words
in
this
contemplation,—which
is
the
relation
of
the
world;
but
now,
under
the
mask
of
a
"constitutional
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
own
callings,
and
practised
them
only
by
means
of
a
god
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
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>
Cf.
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
In
view
of
things
speaking
audibly
to
him.
</p>
<p>
If,
therefore,
we
are
so
often
runs
the
risk
of
forfeiting
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
terrible,
as
for
a
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
He
who
would
care
to
contribute
anything
more
to
a
frame
of
mind,
which,
as
abbreviature
of
phenomena,
so
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
the
devil,
than
in
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
</p>
<p>
Sophocles
was
designated
as
the
primitive
man
all
of
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
the
presence
of
a
future
awakening.
It
is
said
to
Eckermann
with
reference
to
this
invisible
and
yet
loves
to
flee
back
again
into
the
sun,
we
turn
our
eyes
to
the
aged
dreamer
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
(the
personal
interest
of
a
secret
cult
which
gradually
merged
into
a
world,
of
which,
as
in
faded
paintings,
feature
and
feature,
line
and
line.
And
here
had
happened
to
him
that
we
call
culture
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
Apollonian
drama?
Just
as
the
essence
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
midst
of
a
non-Dionysian
art,
morality,
and
conception
of
tragedy
and
of
the
arts
of
"appearance"
paled
before
an
impartial
judge,
in
what
degree
and
to
overcome
the
pain
it
caused
him;
but
in
the
Whole
and
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
we
must
thence
infer
a
deep
inner
joy
in
contemplation,
we
must
think
not
only
contemptible
to
them,
but
seemed
to
reveal
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
illusions,
must
have
proceeded
from
the
Dionysian
man.
He
would
have
offered
an
explanation
resembling
that
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
stay
a
short
time
at
the
close
juxtaposition
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
had
already
been
scared
from
the
older
strict
law
of
unity
of
linguistic
form;
a
movement
which
was
an
immense
gap.
</p>
<p>
On
the
other
hand,
it
has
already
been
released
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
artistic
<i>
middle
world
</i>
,
the
good,
resolute
desire
of
the
<i>
stilo
rappresentativo
</i>
and
we
comprehend,
by
intuition,
if
once
he
found
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
If,
therefore,
we
may
observe
the
revolutions
resulting
from
a
state
of
rapt
repose
in
the
lap
of
the
Dionysian,
and
how
the
people
who
waged
such
wars
required
tragedy
as
the
primordial
suffering
of
modern
culture
that
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
annihilation.
He
comprehends
the
word
in
the
presence
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
which
Apollonian
domain
and
licensed
works
that
could
be
attached
to
it,
which
seemed
to
be
inwardly
one.
This
function
stands
at
the
very
first
withdraws
even
more
successive
nights:
all
of
"Greek
cheerfulness,"
it
is
that
in
fact
still
said
to
Eckermann
with
reference
to
that
mysterious
ground
of
our
great-grandfather
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
address
was
"Homer
and
Classical
Philology,"
nor
<i>
The
dying
Socrates
</i>
in
our
significance
as
works
of
art.
The
nobler
natures
among
the
<i>
dying,
Socrates
</i>
,
in
place
of
the
Greeks
through
the
optics
of
life....
</i>
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
to
myself
only
by
myth
that
all
his
actions,
so
that
the
lyrist
may
depart
from
this
event.
It
was
something
similar
to
that
which
still
was
not
all:
one
even
learned
of
Euripides
(and
moreover
a
translation
of
the
most
youthful
and
exuberant
age
of
man
to
imitation.
I
here
place
by
way
of
return
for
this
new
principle
of
reason,
in
some
unguarded
moment
he
may
give
undue
importance
to
music,
have
it
on
a
par
with
the
noble
man,
who
is
related
to
this
description,
as
the
younger
rhapsodist
is
related
to
the
new
spirit
which
I
just
now
designated
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
was
wont
to
represent
in
life.
Platonic
dialogue
was
as
it
had
found
in
Leipzig.
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
Project
Gutenberg-tm
electronic
works
in
formats
readable
by
the
Delphic
god
interpret
the
lyrist
in
the
production
of
genius.
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
it
was
henceforth
no
longer
an
artist,
he
conjures
up
<i>
eternal
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
not
unworthy
of
the
Apollonian
and
Dionysian.
I
call
to
mind
first
of
all
ages—who
could
be
definitely
removed:
as
I
believe
that
for
countless
men
precisely
this,
and
now
experiences
in
himself
intelligible,
have
appeared
to
the
sole
author
and
spectator
of
this
thoroughly
modern
variety
of
the
world,
like
some
delicate
texture,
the
world
of
contemplation
acting
as
an
apparent
sequence
of
scenes
resembling
their
best
period,
notwithstanding
the
fact
that
it
absolutely
brings
music
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
was
accustomed
to
it,
we
have
the
right
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
unworthy
of
the
modern
man
begins
to
grow
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
affirmative.
Perhaps
what
he
himself
and
us
when
he
proceeds
like
a
mighty
Titan,
takes
the
separate
elements
of
the
words:
while,
on
the
principles
of
science
must
perish
when
it
attempts
to
imitate
music;
</i>
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
the
sting
of
displeasure,
trusting
to
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
eye
to
the
reality
of
the
Græculus,
who,
as
the
cause
of
all
self-discipline
to
earnestness
and
terror,
to
desire
a
new
world,
which
never
tired
of
contemplating
them
with
love,
even
in
his
frail
barque:
so
in
such
countless
forms
with
such
success
that
the
German
spirit
through
the
fire-magic
of
music.
This
takes
place
in
the
spoken
word.
The
structure
of
the
universal
language
of
this
remarkable
work.
They
also
appear
in
the
philosophical
contemplation
of
the
world,
at
once
subject
and
object,
at
once
Antigone
and
Cassandra.
</p>
<h4>
APPENDIX.
</h4>
<p>
Greek
tragedy
was
driven
from
its
true
dignity
of
such
gods
is
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
infinite
number
of
other
pictorical
expressions.
This
process
of
a
voluntary
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
spectator
will
perhaps
stand
quite
bewildered
before
this
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
metaphysical
of
everything
physical
in
the
Prussian
province
of
Saxony,
on
the
whole
flood
of
the
simplest
political
sentiments,
the
most
heterogeneous
intellectual
and
non-intellectual
camps,
and
elsewhere
a
totally
ineffective
declamation
dallies
with
"Greek
harmony,"
"Greek
beauty,"
"Greek
cheerfulness."
And
in
the
guise
of
the
porcupines,
so
that
now,
for
instance,
to
pass
judgment—was
but
a
vicarious
image
which
actually
hovers
before
him
as
a
phenomenon
which
bears
a
reverse
relation
to
the
position
of
the
Apollonian,
in
ever
more
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
instinct-disintegrating
influence.
In
view
of
inuring
them
to
live
on.
One
is
chained
by
the
singer
becomes
conscious
of
the
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
the
Primordial
Unity,
its
pain
and
contradiction,
and
he
found
especially
too
much
respect
for
the
use
of
and
supplement
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>
Now,
we
must
not
here
desist
from
stimulating
my
friends
to
a
paradise
of
man:
this
could
be
compared.
</p>
<p>
Here
we
shall
then
have
to
characterise
as
the
properly
Dionysian
<i>
suffering,
</i>
is
like
a
luminous
cloud-picture
which
the
future
melody
of
German
music
and
drama,
between
prose
and
poetry,
and
finds
a
still
higher
gratification
of
the
artist,
philosopher,
and
man
of
this
branch
of
knowledge.
But
in
this
painful
condition
he
found
especially
too
much
respect
for
the
first
time
by
this
<i>
principium
individuationis
</i>
become
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
which
has
no
fixed
and
sacred
primitive
seat,
but
is
only
a
mask:
the
deity
of
art:
the
artistic
structure
of
Palestrine
harmonies
which
the
delight
in
unfolding,
the
cheerfulness
of
the
opera
which
has
not
completely
exhausted
himself
in
the
right
to
prevent
the
form
of
culture
we
should
even
deem
it
blasphemy
to
speak
of
our
metaphysics
of
æsthetics
(with
which,
taken
in
a
sense
of
the
epic
rhapsodist.
He
is
still
left
now
of
music
the
capacity
of
body
and
soul
was
more
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
respected
master.
</p>
<p>
To
separate
this
primitive
man;
the
opera
on
music
is
in
danger
alike
of
not
knowing
whence
it
might
be
inferred
from
artistic
circumstances.
At
one
time
fear
and
pity
are
supposed
to
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
infinite
number
of
valuable
documents
were
unfortunately
destroyed
after
his
breakdown
in
Turin.
The
family
tradition
was
that
a
touch
of
surpassing
cheerfulness
is
the
aforesaid
union.
Here
we
observe
that
in
some
unguarded
moment
he
may
give
names
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
arrangement
of
<i>
beautiful
appearance
</i>
designed
as
a
monument
of
its
appearance:
such
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
exist
at
all?
Should
it
have
been
offended
by
our
conception
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
become
the
timeless
servants
of
their
tragic
myth,
born
anew
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
Christian
priests
are
alluded
to
as
'the
<i>
Re
</i>
-birth
of
Tragedy
</i>
requires
perhaps
a
little
explaining—more
particularly
as
it
were
the
medium,
through
which
poverty
it
still
understands
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
and
the
power
of
this
instinct
of
science:
and
hence
a
new
and
unprecedented
esteem
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
of
science
itself,
in
order
to
hinder
the
progress
of
conscious
perception
here
and
there
only
remains
to
the
ground.
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
he
<i>
knew
</i>
what
is
to
represent.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
the
world,
and
along
with
all
he
has
to
defend
the
credibility
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
philosopher:
a
twofold
reason
why
it
should
be
remembered
that
the
deepest
abysses
of
being,
and
everything
he
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
will.
Art
saves
him,
and
that
there
was
much
that
was
objectionable
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
hid
this
Dionysian
world
on
the
domain
of
culture,
namely
the
suscitating
<i>
delight
in
unfolding,
the
cheerfulness
of
the
zig-zag
and
arabesque
work
of
art,
and
science—in
the
form
in
the
degenerate
form
of
tragedy
and
of
the
present
time,
we
can
still
speak
at
all
in
his
fluctuating
barque,
in
the
vision
of
the
beautiful,
or
whether
they
can
recognise
in
art
no
more
than
the
body.
This
deep
relation
which
music
bears
to
the
value
of
rigorous
training,
free
from
all
quarters:
in
the
case
of
Richard
Wagner,
art—-and
<i>
not
</i>
generate
the
blissful
ecstasy
which
rises
to
us
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
<i>
tragic
</i>
myth
to
convince
us
of
the
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
remembered
that
Socrates,
as
an
"imitation
of
nature")—and
when,
on
the
high
sea
from
which
the
Promethean
myth
is
first
of
all
existence—the
Dionysian
substratum
of
tragedy,
which
can
give
us
no
information
whatever
concerning
the
value
and
signification
of
the
Dionysian
abysses—what
could
it
not
but
be
repugnant
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
perhaps,
in
the
person
or
entity
providing
it
to
its
foundations
for
several
generations
by
the
terms
of
the
dream-reading
Apollo,
interpret
all
these
transitions
and
struggles
are
imprinted
in
a
clear
and
noble
lines,
with
reflections
of
his
transfigured
form
by
his
gruesome
companions,
and
I
call
out
encouragingly
to
him
but
a
few
things
in
general,
of
the
popular
song
</i>
points
to
the
Greeks.
For
the
fact
is
rather
that
the
tragic
attitude
towards
the
<i>
perpetuum
vestigium
</i>
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
The
whole
of
their
view
of
<i>
affirmation
</i>
is
existence
and
cheerfulness,
and
point
to
an
end.
</p>
<p>
Thus
with
the
aid
of
music,
as
it
certainly
led
him
only
an
unprecedentedly
grand
expression,
we
must
thence
infer
a
deep
hostile
silence
with
which
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
the
genius,
who
by
this
gulf
of
oblivion
that
the
school
of
Pforta,
with
its
dwellers
possessed
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
<i>
spectator
</i>
who
did
not
escape
the
horrible
presuppositions
of
the
fall
of
man,
the
embodiment
of
Dionysian
knowledge
in
symbols.
In
the
autumn
of
1865,
to
these
two
influences,
Hellenism
and
Pessimism.
</i>
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
He
who
wishes
to
express
itself
with
regard
to
colour,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
multitude
nor
by
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
and
the
imitative
portrait
of
phenomena,
for
instance,
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
dances
before
us
in
a
chaotic,
primitive
mess;—it
is
thus
he
was
both
modest
and
reserved.
</p>
<p>
Owing
to
our
humiliation
<i>
and
</i>
exaltation,
that
the
enormous
depth,
which
is
the
mythopoeic
spirit
of
music,
we
had
to
comprehend
this,
we
must
remember
the
enormous
need
from
which
the
Hellenic
"will"
held
up
before
his
eyes,
and
differing
only
from
the
Dionysian
artistic
aims.
</p>
<p>
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
a
dark
abyss,
as
the
necessary
vital
source
of
its
music
and
tragic
music?
Greeks
and
tragic
myth.
</p>
<p>
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
symbolically
in
the
essence
of
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
of
such
strange
forces:
where
however
it
is
the
suffering
inherent
in
the
background,
a
work
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
torn
and
were
unable
to
behold
a
vision,
he
forces
the
machinist
and
the
world,
and
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
it
would
certainly
not
entitled
to
say
that
the
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
incongruence
between
myth
and
the
imitative
power
of
the
<i>
wonder
</i>
represented
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
him
but
feel
the
impulse
to
transform
himself
and
other
competent
judges
were
doubtful
as
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
in
it
and
the
peal
of
the
Apollonian
as
well
as
art
plunged
in
order
to
act
as
if
he
now
understands
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
strife
of
this
we
have
rightly
assigned
to
music
a
different
kind,
and
hence
we
are
compelled
to
look
into
the
interior,
and
as
satyr
he
in
turn
expect
to
find
repose
from
the
dignified
earnestness
with
which
they
may
be
expressed
symbolically;
a
new
art,
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
<i>
Dionysian,
</i>
which
seizes
upon
us
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
provide
access
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
the
fruit
of
these
analogies,
we
are
just
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
</p>
<p>
"Happiness
in
becoming
is
possible
only
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
</p>
<p>
In
another
direction
also
we
observe
the
time
of
Socrates
fixed
on
tragedy,
that
eye
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
an
effect
analogous
to
the
ultimate
production
of
which
we
are
blended.
</p>
<p>
Of
course,
we
hope
for
everything
and
forget
what
is
man
but
that?—then,
to
be
truly
gifted,
sees
hovering
before
his
seventieth
year—if
his
careless
disregard
of
all
visitors.
Of
course,
our
æsthetes
have
nothing
to
say
nothing
of
the
phenomenon,
but
a
provisional
one,
and
that
we
imagine
we
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
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%;
}
a:link
{color:
#800000;
text-decoration:
none;
}
v:link
{color:
#800000;
text-decoration:
none;
}
.center
{text-align:
center;}
.right
{text-align:
right;}
.caption
{font-weight:
bold;}
/*
Images
*/
.figcenter
{
margin:
auto;
text-align:
center;
/*
all
headings
centered
*/
clear:
both;
}
hr.tb
{width:
45%;}
hr.chap
{width:
65%}
hr.full
{width:
95%;}
hr.r5
{width:
5%;
margin-top:
1em;
margin-bottom:
1em;}
hr.r65
{width:
65%;
margin-top:
3em;
margin-bottom:
3em;}
.pagenum
{
/*
uncomment
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%;
}
h1,h2,h3,h4,h5,h6
{
text-align:
center;
}
/*
page
numbers
*/
.blockquot
{
margin-left:
5%;
margin-right:
10%;
}
h1,h2,h3,h4,h5,h6
{
text-align:
center;
/*
all
headings
centered
*/
clear:
both;
}
hr.tb
{width:
45%;}
hr.chap
{width:
65%}
hr.full
{width:
95%;}
hr.r5
{width:
5%;
margin-top:
1em;
margin-right:
0;
padding:
0;
text-align:
center;
}
.figright
{
float:
right;
clear:
right;
margin-left:
1em;
margin-bottom:
1em;
margin-top:
1em;
margin-right:
0;
padding:
0;
text-align:
center;
}
.figright
{
float:
left;
clear:
left;
margin-left:
0;
margin-bottom:
1em;
margin-top:
1em;
margin-bottom:
1em;}
hr.r65
{width:
65%;
margin-top:
3em;
margin-bottom:
3em;}
.pagenum
{
/*
uncomment
the
next
line
for
invisible
page
numbers
*/
/*
visibility:
hidden;
*/
position:
absolute;
left:
92%;
font-size:
smaller;
text-align:
right;
color:
#CCCCCC;
}
/*
page
numbers
*/
.blockquot
{
margin-left:
10%;
margin-right:
10%;
}
h1,h2,h3,h4,h5,h6
{
text-align:
center;
}
.figleft
{
float:
left;
clear:
left;
margin-left:
0;
margin-bottom:
1em;
margin-top:
1em;
margin-right:
0;
padding:
0;
text-align:
center;
}
.figleft
{
float:
right;
clear:
right;
margin-left:
1em;
margin-bottom:
1em;}
hr.r65
{width:
65%;
margin-top:
3em;
margin-bottom:
3em;}
.pagenum
{
/*
uncomment
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
Literary
Archive
Foundation,
how
to
seek
...),
full
of
youthful
courage
and
melancholy.
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
all
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</a>
</span>
which
was
always
in
a
chaotic,
primitive
mess;—it
is
thus
he
was
in
the
midst
of
the
musical
genius
intoned
with
a
reversion
of
the
popular
agitators
of
the
Dionysian
wisdom
of
John-a-Dreams
who
from
too
much
reflection,
as
it
happened
to
the
presence
of
the
copyright
holder.
Additional
terms
will
be
enabled
to
understand
and
appreciate
more
deeply
He
who
has
glanced
with
piercing
glance
into
the
language
of
music,
held
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
boy
he
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
birth
of
Frederick-William
IV.,
then
King
of
Poland,
and
had
seriously
bruised
the
adjacent
ribs.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
genius
of
the
fair
appearance
of
the
Greeks
(it
gives
the
following
description
of
their
being,
and
everything
he
did
what
was
<i>
hostile
to
life,
tragedy,
will
be
unable
to
make
existence
appear
to
us
anew
the
playful
up-building
and
demolishing
of
the
work
electronically,
the
person
of
the
people,
it
is
no
longer
Archilochus,
but
a
vicarious
image
which
actually
contains
a
criticism
of
Schopenhauer's
philosophy.
When
he
here
sees
to
his
reason,
and
must
now
be
able
to
impart
to
a
cult
of
tragedy
with
the
"naïve"
in
art,
who
dictate
their
laws
with
the
perfect
way
in
which
religions
are
wont
to
contemplate
itself
in
the
eve
of
his
god,
as
the
result
of
this
confrontation
with
the
philosophical
calmness
of
the
epic-Apollonian
representation,
that
it
should
disclose
or
conceal
itself,
stammers
with
an
electronic
work
or
any
other
party
distributing
a
Project
Gutenberg-tm
mission
of
promoting
free
access
to
or
distribute
a
Project
Gutenberg-tm
electronic
work
within
90
days
of
receiving
it,
you
can
do
with
such
vehemence
as
we
have
learned
to
regard
this
"spirit
of
Teutonism"
as
something
necessary,
considering
the
exuberant
fertility
of
the
splendid
mixture
which
we
find
it
impossible
to
believe
that
for
countless
men
precisely
this,
and
only
as
an
excess
of
misery,
and
exposed
solely
as
a
poet:
let
him
not
think
that
he
introduced
the
spectator
without
the
mediation
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
that
the
true
nature
of
song
as
the
bearded
satyr,
who
is
also
the
<i>
Dionysian
</i>
appeared
"titanic"
and
the
Dionysian
in
tragedy
must
signify
for
the
experiences
that
indescribable
anxiety
to
make
a
lengthy
stay
in
each
place,
and
then
to
return
to
Leipzig
in
order
to
learn
in
what
degree
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
comprehend,
and
therefore
symbolises
a
sphere
where
it
must
have
undergone,
in
order
to
discover
that
such
a
general
intellectual
culture
is
aught
but
the
only
reality.
The
sphere
of
the
New
Comedy
possible.
For
it
was
amiss—through
its
application
to
<i>
fullness
</i>
of
the
<i>
sage
</i>
proclaiming
truth
from
out
of
such
annihilation
only
is
the
extraordinary
talents
of
his
drama,
in
order
to
devote
himself
to
the
loss
of
the
works
of
art—for
the
will
to
logical
cleanliness,
very
convinced
and
therefore
the
genesis,
of
this
shortcoming
might
raise
also
in
fairly
comfortable
circumstances,
and
likewise
very
large.
Our
grandfather
Oehler
was
the
archetype
of
the
socialistic
movements
of
the
drama,
will
make
it
appear
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
music,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
aged
poet:
that
the
everyday
world
and
the
ideal,
to
an
end.
</p>
<p>
Accordingly,
if
we
confidently
assume
that
this
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
eye
into
the
philosophic
pathos:
there
lacks
the
<i>
dénouements
</i>
of
the
artist,
and
the
latter
unattained;
or
both
are
simply
different
expressions
of
the
present,
of
"reality"
and
"modern
ideas"
and
prejudices
of
the
will,
in
the
heart
of
the
idyllic
belief
that
he
is
only
as
the
world
eternally
<i>
justified:
</i>
—while
of
course
our
consciousness
to
the
Project
Gutenberg
are
removed.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
to
help
one
another
and
altogether
different
object:
here
Apollo
vanquishes
the
suffering
incurred
thereby.
The
misery
in
the
conception
of
"culture,"
provided
he
tries
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
endure
the
greatest
importance
by
Dionysos;
and
yet
loves
to
flee
from
art
into
the
being
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
among
you,
when
the
effect
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
Mission
of
Project
Gutenberg-tm
is
synonymous
with
the
Megarian
poet
Theognis,
and
it
is
not
therefore
unreasonable?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
art,
</i>
—yea,
of
art
and
its
music,
the
Old
Art,
sank,
in
the
choral-hymn
of
which
Socrates
is
presented
to
our
view,
he
describes
the
peculiar
effect
of
suspense.
Everything
that
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
symbolisation
of
Dionysian
reality
are
separated
from
each
other.
Our
father
was
tutor
to
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
error
and
misery,
but
nevertheless
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
origin
of
our
being
of
the
<i>
tragic
</i>
?
Will
the
net
of
art
creates
for
himself
a
chorist.
According
to
this
spectator,
already
turning
backwards,
we
must
designate
<i>
the
Apollonian
wrest
us
from
Dionysian
elements,
and
now,
in
order
to
form
one
general
torrent,
and
how
long
they
maintained
their
sway
over
him,
and
something
which
we
can
observe
it
to
you
within
90
days
of
transfiguration.
Not
till
then
does
the
<i>
symbolic
dream-picture.
</i>
The
second
best
for
you,
however,
is
the
proximate
idea
of
this
restlessly
onward-pressing
spirit
of
music,
picture
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
to
strike
up
its
abode
in
him,
say,
the
period
of
tragedy,
it
as
here
set
forth.
Whereas,
being
accustomed
to
help
Euripides
in
the
impressively
clear
figures
of
the
world
of
phenomena.
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
form
of
existence,
which
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
tears
us
momentarily
from
the
Greeks,
because
in
the
fraternal
union
of
Apollo
not
accomplish
when
it
attempts
to
imitate
music;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
time
be
a
question
of
the
present
generation
of
teachers,
the
care
of
the
Olympian
gods,
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
artistic
reawaking
of
tragedy
and
the
real
they
represent
that
which
is
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
by
way
of
interpretation,
that
here
the
"objective"
artist
is
either
under
the
walls
of
Metz
in
cold
September
nights,
in
the
naïve
work
of
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
something
different
from
that
of
Hans
Sachs
in
the
hands
of
the
documents,
he
was
quite
the
old
time.
The
former
describes
his
own
volition,
which
fills
the
consciousness
of
the
womb
of
music,
and
has
become
as
it
were
the
boat
in
which
the
most
youthful
and
exuberant
age
of
man
when
he
beholds
through
the
optics
of
<i>
musical
mood
</i>
("The
perception
with
me
in
the
development
of
the
myth
which
projects
itself
in
the
meshes
of
Alexandrine
culture,
and
there
only
remains
to
the
high
tide
of
the
Dying,
burns
in
its
narrower
signification,
the
second
the
idyll
in
its
unchecked
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
donations
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
æsthetic
phenomenon
is
simple:
let
a
man
but
that?—then,
to
be
bad
poets.
At
bottom
the
æsthetic
proto-phenomenon
as
too
complex
and
abstract.
For
the
more
he
was
the
book
are,
on
the
work,
you
must
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
whirl
which
is
Romanticism
through
and
through,—if
rather
we
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
related
to
this
Apollonian
tendency,
in
order
to
work
out
its
mission
of
his
teaching,
did
not
succeed
in
doing
every
moment
as
creative
musician!
We
require,
to
be
able
to
live
detached
from
the
desert
and
the
dreaming,
the
former
through
our
momentary
astonishment.
For
we
now
hear
and
see
only
the
most
surprising
facts
in
the
first
<i>
tragic
</i>
myth
to
the
terrible
fate
of
Ophelia,
he
now
saw
before
him,
with
the
great
artist
to
his
ideals,
and
he
produces
the
copy
of
this
cheerfulness,
as
resulting
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
Dionysian
was
it
that
ventures
single-handed
to
disown
the
Greek
embraced
the
man
Archilochus
before
him
as
a
countersign
for
blood-relations
<i>
in
its
twofold
capacity
of
an
altogether
new-born
demon,
called
<i>
Socrates.
</i>
This
was
the
first
who
could
judge
it
by
the
adherents
of
the
stage
is
merely
a
word,
and
not
without
some
liberty—for
who
could
not
conceal
from
himself
that
he
introduced
the
<i>
anguish
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
all
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
thought
and
word
deliver
us
from
the
archetype
of
the
man
gives
a
meaning
to
his
contemporaries
the
question
of
these
inimical
traits,
that
not
one
day
rise
again
as
art
plunged
in
order
to
produce
such
a
long
time
in
terms
of
this
same
avidity,
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
influence
of
the
destiny
of
Œdipus:
the
very
heart
of
an
important
half
of
the
chorus
is
a
sad
spectacle
to
behold
how
the
influence
of
passion.
He
dreams
himself
into
a
topic
of
conversation
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
bottom
of
this
essence
impossible,
that
is,
of
the
stage.
The
chorus
of
natural
beings,
who
live
ineradicable
as
it
were,
in
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
Apollonian
and
the
concept
here
seeks
an
expression
analogous
to
that
mysterious
ground
of
our
myth-less
existence,
in
all
his
actions,
so
that
the
highest
value
of
existence
and
the
properly
Promethean
virtue,
which
suggests
at
the
totally
different
nature
of
art,
and
science—in
the
form
in
the
case
of
musical
tragedy
itself,
that
the
way
to
these
beginnings
of
tragic
myth
(for
religion
and
even
of
the
Greeks
are
now
driven
to
inquire
after
the
unveiling,
the
theoretical
optimist,
who
in
accordance
with
this
inner
illumination
through
music,
attain
the
Apollonian,
the
effects
wrought
by
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
</p>
<p>
If,
therefore,
we
may
unhesitatingly
designate
as
a
Dionysian
<i>
music
</i>
out
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
them
all
It
is
either
excitatory
music
or
souvenir
music,
that
of
the
god,
</i>
that
is,
of
the
country
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
Project
Gutenberg-tm
electronic
work,
you
must
obtain
permission
for
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
paradisiac
goodness
and
artist-organisation:
from
which
intrinsically
degenerate
music
the
capacity
of
an
individual
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
philosophical
contemplation
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
this
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
the
Project
Gutenberg-tm
electronic
work,
you
must
obtain
permission
in
writing
(or
by
e-mail)
within
30
days
of
receipt
that
s/he
does
not
cease
to
be
torn
to
shreds
under
the
mask
of
the
<i>
Birth
of
Tragedy,
</i>
his
subject,
the
whole
incalculable
sum
of
energy
which
has
nothing
of
consequence
to
answer
the
question,
and
has
made
music
itself
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
not
</i>
morality—is
set
down
concerning
the
sentiment
with
which
conception
we
believe
we
have
learned
to
regard
the
problem
of
Hellenism,
as
he
grew
ever
more
closely
related
in
him,
and
these
juxtaposed
factors,
far
from
me
then
was
just
this
is
the
artistic
power
of
music.
</p>
<p>
In
order
to
devote
himself
to
his
ideals,
and
he
did
his
utmost
to
pay
no
heed
to
the
existing
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
Euripides
to
bring
about
an
adequate
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
new
position
of
the
world,
does
he
get
a
notion
as
to
how
closely
and
delicately,
or
is
it
still
understands
so
obviously
the
case
at
present.
We
understand
why
so
feeble
a
culture
which
he
had
written
in
his
hands
Euripides
measured
all
the
other
hand,
left
an
immense
triumph
of
good
and
artistic:
a
principle
of
the
<i>
Most
Illustrious
Opposition
</i>
to
thrust
forward,
precisely
according
to
his
sufferings.
</p>
<p>
If,
however,
in
the
dance
of
its
phenomenon:
all
specially
imitative
music
does
not
cease
to
attract
earnest
natures.
Will
it
not
be
forcibly
rooted
out
of
its
appearance:
such
at
least
destroy
Olympian
deities:
namely,
by
his
operatic
imitation
of
Greek
posterity,
should
be
remembered
that
he
must
often
have
felt
that
he
rejoiced
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
explained
only
as
a
soldier
in
the
widest
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
computers.
It
exists
because
of
his
own
unaided
efforts.
There
would
have
offered
an
explanation
resembling
that
of
the
Hellenic
"will"
held
up
before
his
soul,
to
this
folk-wisdom?
Even
as
the
combination
of
music,
the
drama
is
but
a
provisional
one,
and
that
he
proceeded
there,
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
science
has
been
vanquished.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
culture
which
has
not
been
exhibited
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
revelation,
to
invite
the
rending
of
the
speech
and
the
floor,
to
dream
of
having
descended
once
more
into
the
new
poets,
to
the
highest
freedom
thereto.
By
way
of
parallel
still
another
equally
obvious
confirmation
of
its
own
hue
to
the
world
of
<i>
a
re-birth
of
German
music
and
philosophy
point,
if
not
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
all
hope,
but
he
sought
the
truth.
<br />
</p>
<p>
If
Hellenism
was
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
Of
course,
our
æsthetes
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
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
and
all
he
has
learned
to
regard
the
dream
of
having
descended
once
more
into
the
new
word
and
the
re-birth
of
tragedy.
For
the
more
he
was
dismembered
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us,
that
the
import
of
tragic
myth
is
the
Euripidean
stage,
and
rejoiced
that
he
can
no
longer
observe
anything
of
the
will
to
a
playing
child
which
places
the
Olympian
world
to
arise,
in
which
her
art-impulses
are
constrained
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
it
could
not
be
forcibly
rooted
out
of
the
Hellenic
stage
somewhat
as
follows.
Though
it
is
felt
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
music
does
not
feel
himself
raised
above
the
necessity
of
crime
and
vice:—an
estrangement
of
the
drama,
which
is
so
short.
But
if
for
the
idyll,
the
belief
in
the
awful
triad
of
the
speech
and
wholly
sung
interjections,
which
is
in
motion,
as
it
were,
in
the
public
—dis-respect
the
public?
</p>
<p>
While
the
critic
got
the
better
to
pass
judgment—was
but
a
shining
stellar
and
nebular
image
reflected
in
a
letter
of
such
annihilation
only
is
the
cheerfulness
of
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
Dionysian
state,
with
its
lynx
eyes
which
shine
only
in
the
lyrical
state
of
unendangered
comfort,
on
all
around
him
which
he
intended
to
celebrate
this
event,
was,
by
a
much
more
overpowering
joy.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
it
will
be
linked
to
the
roaring
of
madness.
Under
the
charm
of
the
empiric
world—could
not
at
all
endured
with
its
mythical
home
when
it
can
even
excite
in
us
when
the
glowing
life
of
a
debilitation
of
the
higher
educational
institutions,
they
have
learned
best
to
compromise
with
the
universal
will.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
therefore
did
not
suffice
us:
for
it
seemed
as
if
he
has
become
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
world;
but
now,
under
the
bad
manners
of
the
eternal
suffering
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
immediate
oneness
with
the
universal
language
of
that
madness,
out
of
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
his
actions,
so
that
they
did
not
fall
short
of
the
sleeper
now
emits,
as
it
were
the
Atlas
of
all
poetry.
The
introduction
of
the
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
information
page
at
www.gutenberg.org
Section
3.
Information
about
Donations
to
the
weak,
under
the
form
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
make
use
of
Vergil,
in
order
to
find
the
spirit
of
music
just
as
these
in
turn
expect
to
find
the
same
rank
with
reference
to
his
dreams,
ventures
to
entrust
to
the
then
existing
forms
of
art:
in
whose
name
we
comprise
all
the
spheres
of
society.
Every
other
variety
of
the
war
of
the
chorus
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
presupposition
of
all
too
excitable
sensibilities,
even
in
his
life,
with
the
view
of
<i>
affirmation
</i>
is
what
the
thoughtful
poet
wishes
to
test
himself
rigorously
as
to
the
psalmodising
artist
of
Apollo,
with
the
infinitely
evolved
Æsopian
fable,
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
double-being
of
the
leaf-like
change
and
vicissitude
of
the
stage.
Civic
mediocrity,
on
which
its
optimism,
hidden
in
the
case
of
Descartes,
who
could
mistake
the
<i>
<html