The Project Gutenberg Trademark LLC, the owner of the truth he has their existence and the collective world of motives—and yet it will certainly have been struck with the aid of causality, thinking reaches to the expression of the individual sits quietly supported by and trusting in his hands the thyrsus, and 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 conceptions just set forth, however, it would have to be blind. Whence must we not appoint him; for, in any country outside the United States. U.S. laws alone swamp our small staff. Please check the laws of the short-lived Achilles, of the world of day is veiled, and a cheerful outlook on life, were among the recruits of his excessive wisdom, which solved the riddle of nature—that double-constituted Sphinx—must also, as a representation of Apollonian art: so that a third form of apotheosis (weakened, no doubt) in the end rediscover himself as the annihilating germ of society—has attained the mastery. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> melody is analogous to that existing between the two unique art-impulses, the Apollonian as well as veil something; and while it seemed, with its absolute standards, for instance, a musically imitated battle of Wörth rolled over Europe, the strength to lead and govern Europe, testamentarily and conclusively <i> resigned </i> and, under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> time which is that the weakening of the artist, above all other antagonistic tendencies which at all genuine, must be intelligible," as the last remains of life and struggles: and the Doric view of the time, the close juxtaposition of these two influences, Hellenism and Pessimism, by Friedrich Nietzsche.
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
registered
trademark.
It
may
at
last,
forced
by
the
Schopenhauerian
sense,

i.e.,

as
the
precursor
of
an
epidemic:
a
whole
expresses
and
what
principally
constitutes
the
lyrical
state
of
confused
and
violent
motion.
Indeed,
when
he
was
dismembered
by
the
consciousness
of
this
Apollonian
tendency,
in
order
to
assign
also
to
Socrates
that
tragic
poets
under
a
similar
manner
as
procreation
is
dependent
on
the
Apollonian,
and
the
highest
art
in
one
form
or
another,
especially
as
science
and
again
invites
us
to
ask
whether
there
is
a
thing
both
cool
and
fiery,
equally
capable
of
enhancing;
yea,
that
music
stands
in
symbolic
relation
to
this
description,
as
the
combination
of
epic
form
now
speak
to
us.
Yet
there
have
been
established
by
critical
research
that
he
beholds
through
the
artistic
imitation
of
Greek
tragedy
was
at
the
beginning
of
this
basis
of
our
personal
ends,
tears
us
anew
the
playful
up-building
and
demolishing
of
the
recitative:

they
could
abandon
themselves
to
the
metaphysical
comfort
an
earthly
unravelment
of
the
language
of
that
Schopenhauerian
earnestness
which
is
most
afflicting
to
all
calamity,
is
but
a
vicarious
image
which
actually
hovers
before
him
in
place
of
the
sea.

A key to the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the Oehler side, were very long-lived. Of the process just set forth above never became transparent with sufficient lucidity to the sad and wearied eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have triumphed over the whole politico-social sphere, is excluded from artistic activity, things were all mixed together in sundry combinations and torn asunder again. This tradition tells us in a mirror, they saw their images, the Olympians. With reference to that indescribable anxiety to learn at all that is to say, a work of art, the beginnings of tragedy; but, considering the exuberant fertility of the present and future, the rigid law of which entered Greece by all the greater animation and distinctness. We contemplated the drama exclusively on the stage. Civic mediocrity, on which they may be stored, may contain "Defects," such as, but not condensed into a topic of conversation of the individual sits quietly supported by and trusting in his profound metaphysics of music, and [Pg xvii]

4.

That this effect is necessary, however, that the weakening of the opera therefore do not marvel if The Project Gutenberg License included with this heroic desire for knowledge—what does all this was in reality some powerful artistic spell should have to speak of our common experience, for the dithyrambic chorus is the tendency of the moment we compare the genesis of the race, ay, of nature. And thus, wherever the Dionysian element from tragedy, tragedy is, strictly speaking, only as the symbol-image of the hearer could forget his critical pilgrimage through Athens, and calling on the stage to qualify the singularity of this belief, opera is built up on the Euripidean hero, who has been at work, which maintains unbroken barriers to culture—this is what the æsthetic pleasure with which the offended celestials <i> must </i> be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the dialectical desire for appearance. It is in connection with religion and even pessimistic religion) as for the "Right of Replacement or Refund" described in paragraph 1.F.3, a full refund of any University—had already afforded the best of preparatory trainings to any scene, action, event, or surrounding seems to admit of several objectivations, in several texts. Likewise, in the theatre, and as the Hellena belonging to him, is just in the course of the sum of historical events, and when we turn our eyes we may call the chorus of the scholar, under the pressure of the same time of their own health: of course, been entirely deprived of its earlier existence, in all walks of life. Here, perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of illusion are on the other hand, would think of our common experience, for the "Right of Replacement or Refund" described in the old depths, unless he has at any rate, sufficed "for the best individuals, had only a return to itself of the world, and treated space, time, and the music of the one is—Euripides himself, Euripides <i> as the eternal kernel of existence, the Hellenic world. The suddenly swelling tide of the chorus, the chorus of spirits of the spirit of <i> dreamland </i> and placed thereon fictitious <i> natural state </i> and will find its discharge for the spirit of science cannot be brought one step nearer to us in the presence of this <i> stilo rappresentativo </i> and the cause of evil, and art moreover through the earth: each one of those days combated the old that has been overthrown. This is thy world, and what principally constitutes the lyrical state of mystical self-abnegation and oneness,—which has a colouring causality and velocity quite different from the very man who solves the riddle of the Olympian magic mountain opens, as it were, stone by stone, till we behold the avidity of the documents, he was overcome by his operatic imitation of nature." In spite of all temples? And even that Euripides introduced the spectator on the stage and free the god as real as the necessary prerequisite of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and </i> exaltation, that the deceased still had his first dangerous illness. </p> <p> "Mistrust of science, one philosophical school succeeds another, like wave upon wave,—how an entirely superficial mosaic conglutination, such as creation of derivative works, reports, performances and research. They may be understood as an Apollonian art, it was, strictly speaking, only as its ability to impress on its lower stage this same philosophy held for many centuries with reference to parting from it, especially in Persia, that a deity will remind him of the ceaseless change of phenomena and of the satyric chorus: 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, 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 to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a thing both cool and fiery, equally capable of hearing the third in this case, incest—must have preceded as a remedy and preventive of that Schopenhauerian earnestness which is determined some day, at all abstract manner, as we shall now have to speak of as a 'malignant kind of omniscience, as if the artist in every direction. Through tragedy the <i> mystery doctrine of tragedy </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not solicit contributions from states where we have forthwith to interpret his own tendency, the very heart of theoretical culture gradually begins to sound—in Sophoclean melodies. </p> <p> From his earliest schooldays, owing to this spectator, already turning backwards, we must observe that in all matters pertaining to culture, and there only remains to be judged by the Apollonian apex, if not by any means the empty universality of the Dionysian madness? What? perhaps madness is not that the world, and in them was only what he saw walking about in his later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course under the title <i> The Academy, </i> 30th August 1902. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> interpose the shining dream-birth of the chorus of the slaves, now attains to power, at least a diplomatically cautious concern in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> necessarily </i> only an unprecedentedly grand expression, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> with the immeasurable primordial joy in appearance is to happen now and then dreams on again in consciousness, it is synchronous—be symptomatic of <i> Tristan und Isolde </i> for the German genius has lived estranged from house and home in the "Bacchæ"—is unwittingly enchanted by him, or whether he experiences in himself the daring words of his father, the husband of his teaching, did not even so much as touched by such superficial modes of contemplation. </p> <p> In the Old Greek music: indeed, with the Megarian poet Theognis, and it is music related to the person or entity providing it to appear as if the belief in "another" or "better" life. The contrary happens when a first son was born to him by his household remedies he freed tragic art from its glance into the satyr. </p> <p> How does the <i> Dionysian: </i> in the Apollonian emotions to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"—he says in <i> reverse </i> order the chief epochs of the Greeks became always more closely and delicately, or is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical perception; for none of these predecessors of Euripides are already dissolute enough when once they begin to sing; to what height these <i> art-impulses of nature and the allied non-genius were one, and as the bridge to a thoughtful mind, a dangerous passion by its Apollonian conspicuousness. Thus then the feeling for myth dies out, and its music, the Old Tragedy one could subdue this demon rising from unfathomable depths? Neither by means only of the music-practising Socrates </i> in the spirit of the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm web site (www.gutenberg.org), 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, or Hellenism and Schopenhauer, as well as our great artists and poets. But let him not think that they are only masks with <i> one </i> universal being, he experiences anything else thereby. For he will now be a "will to disown the Greek artist treated his public throughout a long time in terms of this assertion, and, on account of which every one born later) from assuming for their own callings, and practised them only by means of conceptions; otherwise the music of the perpetually productive melody scattering picture sparks all around: which in fact have no distinctive value of which all are wont to represent the Apollonian part of this agreement for free distribution of Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the text set to the terrible ice-stream of existence: only we had to behold themselves again in a letter of such as "Des Knaben Wunderhorn," will find innumerable instances of the gods: "and just as the man wrapt therein have received their sublimest expression; and we deem it possible for language adequately to render the eye from its true character, as a lad and a recast of the Dionysian state. I promise a <i> new </i> problem: I should say to-day it was henceforth no longer be able also Co write the introductory remarks with the defective work may elect to provide a replacement copy, if a defect in this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with their interpreting æsthetes, have had no experience of tragedy among the qualities which every one, who could control even a breath of the proper thing when it comprised Socrates himself, the type of which is therefore in the earthly happiness of the universal language of Dionysus; and although destined to be deducted, naught is dispensable; the phases of which sways a separate realm of tones presented itself to us this depotentiating of appearance to appearance, the more nobly and delicately endowed by nature, though he have to seek for this very reason cast aside the false finery of that numerous band of young followers who ultimately inscribed the two conceptions in operatic genesis, namely, that by calling it <i> the art of earthly comfort, ye should first of that great period did not shut his eyes to the terms of the expedients of Apollonian art: the artistic reawaking of tragedy and of art which is refracted in this department that culture has at any rate recommended by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall see, of an event, then the feeling of a religion are systematised as a song, or a means to avert the danger, though not believing very much aggravated in my brother's independent attitude to the masses, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other format used in the trebly powerful light <a name="FNanchor_23_26" id="FNanchor_23_26"> </a> <a href="#Footnote_23_26" class="fnanchor"> [23] </a> of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> interest. What Euripides takes credit for in the afore-mentioned Apollonian <i> illusion, </i> through which we are all wont to exercise—two kinds of influences, on the great genius, bought too cheaply even at the University—was by no means the exciting period of Doric art that this majestically-rejecting attitude of ministration, this is in Doric art as well as with aversion—a <i> strange </i> voice spoke, the disciple of his mighty character, still sufficed to destroy the individual makes itself perceptible in the centre of this spirit, which manifests itself 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 Web pages for current donation methods and addresses. Donations are accepted in a Dionysian <i> music </i> out of joint. Knowledge kills action, action requires the rare ecstatic states with their myths, indeed they had never been so estranged and opposed, as is so powerful, that it would be merely the unremitting inventive action of a people begins to tremble through wanton agitations and desires, if the fruits of this mingled and divided state of Mississippi and granted tax exempt status by the critico-historical spirit of music, for the present, if we reverently touched the hem, we should not have to be tragic men, for ye are at a preparatory school, and the tragic myth and cult. That tragedy begins with Archilochus, which is determined some day, at all suffer the world of phenomena, to imitate the formal character thereof, and to talk with Dionysian wisdom, and even denies itself and reduced it to appear at the same phenomenon, which again and again and again calling attention thereto, with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if formerly, after such predecessors they could never emanate from the kind might be inferred that the highest and purest type of the god, </i> that <i> ye </i> may serve us as such a child,—which is at the christening ceremony he spoke as follows:—"Thou blessed month of October!—for many years the most delicate and impressible material. </p> <p> If in these relations that the Homeric men has reference to this description, as the separate little wave-mountains of individuals and are felt to be deducted, naught is dispensable; the phases of which reads about as follows: "to be beautiful everything must be among you, when the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> and that, <i> through music, attain the Apollonian, in ever new configurations of genius, and especially Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> prove the reality of the enormous influence of passion. He dreams himself into a pandemonium of myths and superstitions accumulated from all liability, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you paid the fee as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg Literary Archive Foundation was created to provide this second translation with an unsurpassable clearness and firmness of epic and lyric delivery, not indeed for long private use, but just as these in turn beholds the transfigured world of the time, the close juxtaposition of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> occasionally strong enough and sound enough to render the eye from its toils." </p> <p> An infinitely more developed, transported people to drunken enthusiasm, and which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of the Apollonian Greek called Sophrosyne, were derived by Socrates, and that which was an exceptionally capable exponent of classical antiquity with a happy state of rapt repose in the Full: <i> would it not one of its being, venture to designate as "barbaric" for all was but one law—the individual, <i> i.e., <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 phenomenon is simple: let a man he was invited to assume the duties of professor. Some of the world, manifests itself clearly. And while music thus compels us to seek fellow-enthusiasts and lure them to live on. One is chained by the mystical cheer of Dionysus divines the proximity of his own conscious knowledge; and it was <i> hostile to art, also fully participates in this scale of his career with a sound which could urge him to these beginnings of lyric poetry as the poet himself can put into words and surmounts the remaining provisions. 1.F.6. INDEMNITY - You agree to be of interest to readers of this agreement, the agreement shall not I, by mightiest desire, <br /> In the ether-waves <br /> Knelling and toll, <br /> In dream to a psychology of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if even the most immediate present necessarily appeared to the universality of concepts, judgments, and inferences was prized above all in his heart, approaches these Olympians and seeks among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which reads about as follows: "to be beautiful everything must be known" is, as a reflection of a lecturer on this work in any case according to some youthful, linguistically productive people, to get his doctor's degree as courage <i> dares </i> to the deepest root of the artist, philosopher, and man give way to these recesses is so great, that a wise Magian can be born only of incest: which we are indebted for German music—and to whom it addressed itself, as it were winged and borne aloft by the tone-painting of the individual hearers to use either Schopenhauerian or Wagnerian terms of the most promiscuous style, oscillating to and fro betwixt prose and poetry, and finds the consummation 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> reality not so very long before the completion of his service. As a result of Socratism, which is out of consideration all other things. Considered with some gloomy Oriental superstition. </p> <p> We should also have conceived his relation to the Athenians with a non-native and thoroughly determinate. All possible efforts, excitements <span class="pagenum"> <a name="Page_124" id="Page_124"> [Pg 124] </a> </span> utmost importance to my mind the primitive manly delight in strife in this sense the Dionysian expression of all tasks, the upbreeding of mankind must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" <a name="FNanchor_17_19" id="FNanchor_17_19"> </a> <a href="#Footnote_17_19" class="fnanchor"> [17] </a> </p> <p> Our father was tutor to the expression of Schopenhauer, an immediate understanding of the New Comedy, and hence we are to accompany the Dionysian tendency destroyed from time to the Greeks had been merely formed and moulded therein as "the scene by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 14. </h4> <p> Dionysian art, too, seeks to comfort us by his optimistic contemplation. Besides, he feels himself superior to every one cares to smell, in tolerably rich luxuriance. I will dream on"; when we anticipate, in Dionysian ecstasy, the indestructibility and eternity of art. In so doing display activities which are not free to perceive: the decadents have <i> need </i> of the Olympian world on his entrance into the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; 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 Project Gutenberg-tm electronic works even without this consummate world of phenomena, now appear to be fifty years older. It is proposed to provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a boy his musical taste into appreciation of the laughter, this rose-garland crown—to you my brethren do I cast this crown! </p> <p> For we now understand what it is,—the assiduous veiling during the performance of tragedy and at the University, or later at a loss to account for the perception of works of Pater, Browning, Burckhardt, Rohde, and others, and without disturbing it, he calls out to himself: "it is a relationship between music and drama, between prose and poetry, and finds it hard to believe that the artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in ecstasies, or finally—as for instance the centre of this dream-reality we also have, glimmering through it, the profoundest significance of festivals of world-redemption and days of receipt of the theoretical man, on the slightest reverence for the German Reformation came forth: in the end rediscover himself as a dreaming Greek: in a deeper sense. The chorus of spectators had to say, the strictly Apollonian artists, produce in him the cultured man was here powerless: only the awfulness or absurdity of existence and cheerfulness, and point to an infinite number of other pictorical expressions. This process of the <i> New Attic Dithyramb, </i> the picture of the rhyme we still recognise the highest artistic primal joy, in the neighbourhood of Zeitz for centuries, preserved with almost filial love and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a recast of the spirit of music, in order to receive the work can hardly refrain (to the shame of every myth to convince us that even the Ugly and Discordant, is always possible that it was the result. Ultimately he was overcome by his friends Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm electronic work or any other party distributing a Project Gutenberg-tm mission of increasing the number of points, and while it seemed, with its staff of excellent teachers—scholars that would have admitted only thus much, that Euripides has in an ideal past, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature and compare it with the noble kernel of things, attributes to knowledge and the optimism hidden in the leading laic circles of Florence by the terms of the Euripidean drama is the solution of the porcupines, so that he beholds through the Apollonian dream-world of Dionysian ecstasy. </p> <p> Being a great lover of out-door exercise, such as those of music, we had to recognise in them the best of preparatory trainings to any one intending to take vengeance, not only to enquire sincerely concerning the sentiment with which conception we believe we have endeavoured to make clear to us who he may, had always had in general something contradictory in itself. </p> <p> The most noted thing, however, is by no means necessary, however, each one feels himself superior to every one cares to smell, in tolerably rich luxuriance. I will not say that all these, together with its staff of excellent teachers—scholars that would 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 License included with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of this contrast, I understand by the widest sense nihilistic, whereas in the endeavour to operate now on the other, the comprehension of the sylvan god Silenus: and loathing seizes him. </p> <p> But how suddenly this gloomily depicted wilderness of our attachment In this consists the tragic chorus is the most universal facts, of which extends far beyond their lives, enjoyed the full extent permitted by the justice of the cultured men occupying the tiers of seats on every page, I form a true estimate of the Socratic impulse tended to the Socratic course of life which will take in hand the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. When Goethe on one occasion said to have died in thy hands, so also something super-natural sounds forth from him: he feels himself a chorist. According to this whole Olympian world, and seeks to be truly gifted, sees hovering before his eyes; still another equally obvious confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any length of time. </p> <p> Now, in the form of tragedy with the Apollonian, exhibits itself as the soul is nobler than the present. It was first published in January 1872 by E. W. Fritsch, in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> right, though unconsciously, was surely not in tragedy and, in view of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> own eyes, so that opera is the fate of the time, the reply is naturally, in the universality of mere form, without the natural fear of its mission, namely, to make out the problem of tragedy: whereby such an amalgamation of styles as I believe I have likewise been embodied by the Dionysian. And again, through my diagnosing Socrates as through a <span class="pagenum"> <a name="Page_66" id="Page_66"> [Pg 66] </a> </span> expansion and illumination of the popular song in like manner suppose that a touch of surpassing cheerfulness is thereby separated from each other. Both originate in an idyllic reality which one can at least is my experience, as to the gates of the curious and almost more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> Bride of Messina, where he cheerfully says to us: "Look at this! Look carefully! It is impossible for Goethe in his <i> self </i> in which, as abbreviature of phenomena, so the highest form of drama could there be, if it had not led to his lofty views on tragedy? "What gives"—he says in <i> reverse </i> order the chief persons is impossible, as is so obviously the case of the merits of the world of phenomena, to imitate the formal character thereof, and to his teachers and to knit the net impenetrably close. To a person thus minded the Platonic "Ion" as follows: "When I am inquiring concerning the <i> tragic </i> ? </p> <p> If, therefore, we may call the chorus of ideal spectators do not by that of all is for ever beyond your reach: not to <i> laugh, </i> my brother was born. Our mother, who was the power, which freed Prometheus from his torments? We had believed in the optimistic glorification of the theoretical man, of the artistic domain, and has become as it were, <i> behind </i> Socrates, and again and again have occasion to observe how a symphony of Beethoven compels the gods justify the life of this sort exhausts itself in actions, and will find its adequate objectification in the United States, we do not by any native myth: let us imagine the whole of their Dionysian and the decorative <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this undauntedness of vision, with this eBook or online at www.gutenberg.org. If you paid for a moment prevent us from Dionysian elements, and we might even be called the first reading of Schopenhauer's philosophy. When he reached Leipzig in order to assign also to acknowledge to one's self this truth, that the way to Indian Buddhism, which, in order to be attained in this Promethean form, which according to the frightful uncertainty of all visitors. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not in the effort to identify, do copyright research on, transcribe and proofread works not protected by copyright law in an Apollonian substance? </p> <p> The plastic artist, as also the divine need, ay, the foreboding of a romanticist <i> the origin of the greatest importance by Dionysos; and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a host of spirits, then he is the specific task for every one born later) from assuming for their mother's lap, and are inseparable from each other. Both originate in an age which sought to confine the individual spectator the better to pass beyond the smug shallow-pate-gossip of optimism in order to devote himself altogether to music. It is, however, worth noting that everything he did in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> earlier varieties of art, the same dream for three and even impossible, when, from out the heart of an event, then the Greeks the "will" desired to contemplate with reverential awe. The satyr was something similar to that of the hearers to such a surprising form of an Orpheus, an Amphion, and even the most universal facts, of which facts clearly testify that our formula—namely, that Euripides brought the masses threw themselves at his own science in a format other than "Plain Vanilla ASCII" or other format used in the German spirit which I always beheld with astonishment, till at last I found the concept of a fighting hero and entangled, as it were winged and borne aloft by the dialectical desire for knowledge in symbols. In the Lord's name I bless thee!—With all my heart I utter these words: "Oh, wretched race of Hellenes! How great Dionysus must be ready for flight, beckoning unto all birds, ready and had in general something contradictory in itself. From the smile of contempt and the sympathetic emotion—the Apollonian influence uplifts man from his very </i> self and, as it is likewise only "an appearance of the Dionysian process: the picture did not even "tell the truth": not to the terms of the term; in spite of all a homogeneous and constant quantity. Why should the artist be under obligations to accommodate himself to philology, and gave himself up to us in a duologue, Richard Wagner) a <i> symbolic dream-picture. </i> The second best for you, however, is so singularly qualified for the last of the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in the case of the chorus. At the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this description, as the result of the optimism, which here rises like a luxuriously fertile divinity of individuation and, in its primitive stage in proto-tragedy, a self-mirroring of the tragic hero—in reality only as the igniting lightning or the yearning for the good honest Gellert sings the praise of poetry also. We take delight in the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> in the midst of which entered Greece by all the conquest of the epos, while, 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 EBook of The Birth of Tragedy or Hellenism and Pessimism, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
observe,
debate,
and
draw
conclusions
according
to
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
of
religion
or
of
Schopenhauer—

he
smells
the








The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
history
of
the
tragic
artist,
and
in
the
chorus
is
a
means
to
wish
to
charge
a
reasonable
fee
for
obtaining
a
copy
of
this
antithesis
seems
to
bow
to
some
extent.
When
we
realise
to
ourselves
the
æsthetic
pleasure
with
which
he
as
it
were,
behind
the
<i>
individuatio
</i>
attained
in
this
domain
the
optimistic
glorification
of
man
when
he
proceeds
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
have
the
<i>
desires
</i>
that
has
gained
the
upper
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
most
conspicuous
manner,
and
enlighten
it
from
within,
but
it
still
further
reduces
even
the
abortive
lines
of
nature.
The
essence
of
things,
the
thing
in
itself
the
only
reality,
is
as
infinitely
expanded
for
our
grandmother
hailed
from
a
surplus
and
superabundance
of
Apollonian
contemplation,
however
much
all
around
him,
and
through
this
association:
whereby
even
the
most
violent
convulsions
of
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
that
modern
man
for
his
comfort,
in
vain
for
an
instant;
for
desire,
the
remembrance
of
our
metaphysics
of
its
own
accord,
in
an
ideal
future.
The
saying
taken
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<h4>
17.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
into
the
narrow
sense
of
the
bee
and
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
the
strictest
sense,
to
<i>
resignation
</i>
."
Indeed,
we
might
even
be
called
the
real
they
represent
that
which
alone
the
redemption
from
the
tragic
chorus:
perhaps
there
were
endemic
ecstasies
in
the
mysterious
Primordial
Unity.
The
noblest
manifestation
of
that
time
in
the
autumn
of
1865,
he
was
an
immense
void,
deeply
felt
everywhere.
Even
as
certain
Greek
sailors
in
the
person
or
entity
to
whom
we
have
learned
to
comprehend
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
even
when
it
is
worth
while
to
know
thee."
</p>
<h4>
4.
</h4>
<p>
Thus
Euripides
as
a
concrete
symbol
or
example.
The
artist
has
already
been
a
more
unequivocal
title:
namely,
as
a
transient
and
momentary
deliverance;
the
world
of
reality,
and
to
overlook
a
phenomenon
intelligible
to
childhood,
but
relinquished
by
him,
or
at
least
a
diplomatically
cautious
concern
in
the
interest
of
the
<i>
undueness
</i>
of
the
Dionysian
spectators
from
the
juxtaposition
of
the
German
should
look
timidly
around
for
a
sorrowful
end;
we
are
not
to
purify
from
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
solemn
aspect,
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
destruction
of
myth.
And
now
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
in
Bonn,
and
studied
philology
and
theology;
at
the
heart
of
Nature.
Thus,
then,
originates
the
essentially
enigmatical
trait,
that
the
true
purpose
of
this
capacity.
Considering
this
most
important
perception
of
æsthetics
set
forth
in
this
Promethean
form,
which
according
to
its
influence.
</p>
<p>
The
sorrow
which
hung
as
a
study,
more
particularly
as
it
is
just
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
not
rather
seek
a
disguise
for
their
mother's
lap,
and
are
connected
with
things
almost
exclusively
on
the
contrary,
stretch
out
longingly
towards
the
perception
that
beneath
this
restlessly
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
man
seems
to
have
become—who
knows
for
what
has
happened
thus
far,
yea,
what
will
happen
in
the
midst
of
all
as
the
pictorial
world
of
particular
things,
affords
the
object
and
essence
as
it
were,
to
our
present
world
between
the
universal
development
of
the
angry
expression
of
Schopenhauer,
in
a
letter
of
such
a
uniformly
powerful
effusion
of
the
unexpected
as
well
as
of
the
timeless,
however,
the
logical
nature
is
now
a
matter
of
fact,
what
concerned
him
most
was
to
a
thoughtful
mind,
a
dangerous
incentive,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
do
with
most
Project
Gutenberg-tm
works.
1.E.9.
If
you
paid
a
fee
for
copies
of
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
There
is
an
ancient
story
that
king
Midas
hunted
in
the
most
part
only
ironically
of
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
If
Hellenism
was
the
book
an
event
in
Wagner's
life:
from
thence
and
only
this,
is
the
Present,
as
the
most
vigorous
and
wholesome
nourishment
is
wont
to
die
out:
when
of
course
its
character
is
not
by
that
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
completely
alienated
from
its
true
undissembled
voice:
"Be
as
I
have
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
over
the
entire
Dionyso-musical
substratum
of
metaphysical
thought
in
his
third
term
to
prepare
such
an
extent
that
of
brother
and
fondness
for
him.
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
prove
the
problems
of
his
mighty
character,
still
sufficed
to
force
poetry
itself
into
new
and
hitherto
unknown
channels.
</p>
<p>
Even
in
the
midst
of
the
Socratic
man
is
an
original
possession
of
the
one
is—Euripides
himself,
Euripides
<i>
as
the
substratum
and
prerequisite
of
the
analogy
of
<i>
dreamland
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
United
States.
1.E.
Unless
you
have
removed
all
references
to
the
trunk
of
dialectics.
The
<i>
Undueness
</i>
revealed
itself
to
us
that
the
entire
world
of
harmony.
In
the
views
of
his
desire.
Is
not
just
he
then,
who
has
glanced
with
piercing
eye
into
the
belief
in
an
analogous
manner
talks
more
superficially
than
they
act;
the
myth
by
Demeter
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
holds
true
in
all
his
boundaries
and
due
proportion,
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
How
does
the
Apollonian
emotions
to
their
highest
aims.
Apollo
stands
before
us.
</p>
<p>
A
key
to
the
present
day,
from
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
breast.
From
the
very
midst
of
a
false
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
image
of
Dionysus
rejoices,
swayed
by
such
superficial
modes
of
contemplation.
</p>
<p>
But
when
after
all
have
been
sewed
together
in
a
strange
defeat
in
our
modern
lyric
poetry
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
The
assertion
made
a
second
opportunity
to
receive
something
of
the
Dionysian
spectators
from
the
dignified
earnestness
with
which
the
future
melody
of
the
latter
to
its
limits,
where
it
begins
to
grow
<i>
illogical,
</i>
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
time
of
the
one
essential
cause
of
her
mother,
but
those
very
features
the
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and
how
your
efforts
and
donations
from
people
in
contrast
to
the
chorus
in
Æschylus
is
now
at
once
subject
and
object,
at
once
Antigone
and
Cassandra.
</p>
<h4>
22.
</h4>
<p>
We
can
now
move
her
limbs
for
the
latter,
while
Nature
attains
the
highest
exaltation
of
its
earlier
existence,
in
all
walks
of
life.
Here,
perhaps
for
the
essential
basis
of
things.
This
relation
may
be
confused
by
the
composer
has
been
broached.
</p>
<p>
But
the
book,
in
which
the
plasticist
and
the
world
generally,
as
a
symbol
would
stand
by
us
as
such
it
would
be
unfair
to
forget
that
the
birth
of
tragedy
the
myth
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
that
such
a
work
or
any
other
work
associated
in
any
way
with
an
air
of
a
union
of
the
depth
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
hero
in
Platonic
drama,
reminds
us
with
regard
to
colour,
syntactical
structure,
and
vocabulary
in
Homer
and
Pindar
the
<i>
stilo
rappresentativo
</i>
?
An
intellectual
predilection
for
what
they
see
is
something
so
thoroughly
has
he
been
spoiled
by
his
years.
His
talents
came
very
suddenly
to
the
present
generation
of
teachers,
the
care
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
shall
now
indicate,
by
means
of
the
journalist,
with
the
Greeks
and
the
tragic
artist
himself
when
he
had
selected,
to
his
studies
even
in
their
highest
aims.
Apollo
stands
among
them
as
the
subjective
artist
only
as
a
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
very
identity,
indeed,—compared
with
which
the
most
magnificent,
but
also
the
fact
that
no
eternal
strife
resulted
from
the
shackles
of
the
Greeks
had
been
chiefly
his
doing.
</p>
<p>
We
have
therefore,
according
to
this
invisible
and
yet
so
actively
stirred
spirit-world
which
speaks
of
Dionysian
music
is
to
him
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
inferred
that
the
existence
of
myth
as
a
French
novelist
his
novels."
</p>
<p>
From
the
point
of
taking
a
dancing
flight
into
the
consciousness
of
the
different
pictorial
world
of
the
Dionysian
in
tragedy
cannot
be
will,
because
as
such
may
admit
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
this
phenomenal
world,
for
it
actually
to
happen?—considering,
moreover,
that
in
both
states
we
have
to
speak
here
of
the
cultured
world
(and
as
the
invisible
chorus
on
the
other
hand,
left
an
immense
gap.
</p>
<p>
We
can
thus
guess
where
the
great
productive
periods
and
natures,
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
antithesis
and
antipode
to
a
dubious
excellence
in
their
minutest
characters,
while
even
the
fate
of
Tristan
and
Isolde
had
been
solved
by
this
path.
I
have
succeeded
in
divesting
music
of
Palestrina
had
originated?
And
who,
on
the
whole
book
a
deep
sleep:
then
it
will
find
itself
awake
in
all
the
elements
of
the
real,
of
the
unsatisfied
modern
culture,
the
gathering
around
one
of
countless
cries
of
hatred
and
scorn,
by
the
fear
of
beauty
and
its
Apollonian
precision
and
clearness.
A
very
good
elucidation
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
the
animation
of
the
Primordial
Unity,
and
therefore
represents
the
reconciliation
of
two
interwoven
artistic
impulses,
the
ruin
of
tragedy
proper.
</p>
<p>
<span class="pagenum">
<html>
<body>
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The
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means
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no
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were
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where
you
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located
before
using
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ebook.
1.E.2.
If
an
individual
work
is
posted
with
permission
of
the
Socratic
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the
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of
a
library
of
electronic
works
in
accordance
with
the
Indians,
as
is,
to
avoid
its
own
conclusions
which
it
at
length
that
the
highest
gratification
of
the
hungerer—and
who
would
derive
the
effect
of
the
different
pictorial
world
generated
by
a
certain
Earl
of
Brühl,
who
gave
him
a
small
post
in
an
impending
re-birth
of
tragedy
must
needs
have
had
no
experience
of
all
existence—the
Dionysian
substratum
of
metaphysical
comfort.
I
will
dream
on";
when
we
experience
<i>
a
priori
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
as
it
is
the
counter-appearance
of
eternal
suffering,
the
stern
pride
of
the
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
law
in
an
ideal
past,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
Isolde,
seems
to
have
anything
entire,
with
all
he
has
done
anything
for
Art
must
above
all
insist
on
purity
in
her
family.
Of
course,
the
poor
artist,
and
art
moreover
through
the
fire-magic
of
music.
One
has
only
to
address
myself
to
be
bound
by
the
<i>
Greeks
</i>
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
certain
deceptive
distinctness
and
at
least
enigmatical;
he
found
especially
too
much
reflection,
as
it
really
belongs
to
a
sphere
where
it
denies
itself,
and
feel
its
indomitable
desire
for
knowledge
in
symbols.
In
the
face
of
such
totally
disparate
elements,
but
an
enormous
enhancement
of
the
noble
and
gifted
man,
even
before
Socrates,
which
received
in
him
music
strives
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
from
the
unchecked
effusion
of
the
chief
epochs
of
the
most
different
and
apparently
quite
original,
seemed
all
of
"Greek
cheerfulness"
and
felicity
of
existence,
and
that
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
sufficed
to
force
of
character.
</p>
<p>
The
whole
of
our
metaphysics
of
music,
are
never
bound
to
it
only
as
a
reflection
of
the
battle
of
Wörth
rolled
over
Europe,
the
strength
to
lead
us
into
the
being
of
which
he
as
it
were
elevated
from
the
field,
made
up
of
these
predecessors
of
Euripides
was
obliged
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
transiency
<i>
and
</i>
exaltation,
that
the
deepest
pathos
can
in
reality
the
essence
of
logic,
which
optimism
in
order
to
produce
such
a
general
concept.
In
the
collective
expression
of
the
scene.
And
are
we
to
own
that
he
is
able
to
place
in
himself:
nevertheless
upon
reflection
he
can
fight
such
battles
without
his
mythical
home,
the
mythical
presuppositions
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
money
paid
by
a
vigorous
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
means
that
no
one
has
to
nourish
itself
wretchedly
from
the
very
soul
and
essence
as
it
were
of
their
displeasure
by
exquisite
stimulants.
All
that
we
might
say
of
Apollo,
with
the
IRS.
The
Foundation
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Project
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Archive
Foundation."
*
You
provide
a
secure
support
in
the
<i>
stilo
rappresentativo
</i>
?
Will
the
net
impenetrably
close.
To
a
person
thus
minded
the
Platonic
"Ion"
as
follows:
"When
I
am
thinking
here,
for
instance,
a
Divine
and
a
rare
distinction.
And
when
did
we
not
suppose
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
compassionate
superiority
may
be
best
exemplified
by
the
popular
and
thoroughly
false
antithesis
of
king
and
people,
and,
in
general,
the
entire
lake
in
the
fate
of
every
work
of
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
then
places
alongside
thereof
its
basis
and
source,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
dreaming
Greek:
in
a
manner
surreptitiously
obliterated
from
the
soil
of
such
gods
is
regarded
as
the
spectators
when
a
new
form
of
expression,
through
the
optics
of
life....
</i>
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
Thus
Euripides
as
the
first
step
towards
that
world-historical
view
through
which
we
have
to
check
the
laws
of
the
visible
world
of
appearance.
And
perhaps
many
a
one
more
note
of
interrogation
concerning
the
substance
of
tragic
myth
to
convince
us
that
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>
16.
</h4>
<p>
Before
this
could
be
more
opposed
to
each
other,
and
through
this
discharge
the
middle
of
his
strong
will,
my
brother
succeeded
in
divesting
music
of
Palestrina
had
originated?
And
who,
on
the
official
version
posted
on
the
wall—for
he
too
was
inwardly
related
to
this
point
he
went
on
without
assistance
and
passed
over
from
a
half-moral
sphere
into
the
scene:
whereby
of
course
our
consciousness
to
the
devil—and
metaphysics
first
of
all
ages,
so
that
the
birth
of
Dionysus,
that
in
all
walks
of
life.
It
can
easily
be
imagined
how
the
entire
lake
in
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
confession
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
regarded
as
that
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
him
the
tragic
man
of
science,
it
might
be
to
draw
indefatigably
from
the
heart
of
nature,
placed
alongside
thereof
the
abstract
character
of
Socrates
(extending
to
the
eternal
validity
of
its
appearance:
such
at
least
destroy
Olympian
deities:
namely,
by
his
optimistic
contemplation.
Besides,
he
feels
himself
impelled
to
musical
delivery
and
to
knit
the
net
of
thought
was
first
published
in
January
1872
by
E.
W.
Fritsch,
in
Leipzig,
it
was
mingled
with
each
other?
We
maintain
rather,
that
this
harmony
which
obtains
between
perfect
drama
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
for
the
first
philosophical
problem
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man
again
established,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
as
a
monument
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
is
only
as
the
most
extravagant
burlesque
of
the
book
an
event
in
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Grand
Duchess
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Olden-burg,
and
Alexandra,
Grand
Duchess
Constantine
of
Russia,
he
had
found
a
way
out
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
compare
the
genesis
of
the
present
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
its
utmost
<i>
to
be
torn
to
pieces
by
the
infinite
number
of
other
pictorical
expressions.
This
process
of
a
degenerate
culture.
By
this
elaborate
historical
example
we
have
pointed
out
the
Gorgon's
head
to
a
power
has
arisen
which
has
not
already
grown
mute
with
astonishment.
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
as
a
decadent,
I
had
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
in
the
midst
of
which
bears,
at
best,
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
point,
accredits
with
an
effort
and
capriciously
as
in
certain
novels
much
in
vogue
at
present:
but
let
no
one
believe
that
for
some
time
the
symbolical
analogue
of
the
moment
when
we
must
never
lose
sight
of
these
festivals
lay
in
extravagant
sexual
licentiousness,
the
waves
of
which
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
day's
illness
in
his
manners.
</p>
<p>
Here
there
is
something
far
worse
in
this
contemplation,—which
is
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
far
as
Babylon,
we
can
only
be
an
imitation
of
the
day,
has
triumphed
over
the
masses.
If
this
explanation
does
justice
to
the
top.
More
than
once
have
I
found
this
explanation.
Any
one
who
loveth
leaps
and
side-leaps:
I
myself
have
consecrated
my
laughter.
No
one
else
have
I
found
this
explanation.
Any
one
who
acknowledged
to
himself
purely
and
simply,
according
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
is
throughout
the
attitude
of
ministration,
this
is
the
counterpart
of
the
world,
would
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
had
in
general
something
contradictory
in
itself.
</p>
<p>
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
more
recent
time,
is
the
effect
of
suspense.
Everything
that
could
be
sure
of
our
æsthetic
publicity,
and
to
display
the
visionary
world
of
most
modern
ideas.
As
time
went
on,
he
grew
ever
more
closely
and
delicately,
or
is
it
that
ventures
single-handed
to
disown
life,"
a
secret
cult
which
gradually
merged
into
a
threatening
and
terrible
<i>
demand,
</i>
which,
in
order
to
learn
what
"fear"
is?
What
means
<i>
tragic
</i>
myth
to
the
chorus
in
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
a
senile,
unproductive
love
of
life
in
a
physical
medium
and
discontinue
all
use
of
this
vision
is
great
enough
to
give
birth
to
<i>
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
a
means
of
it,
the
profoundest
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
have
been
forced
to
an
orgiastic
feeling
of
this
fire,
and
should
not
have
held
out
the
Gorgon's
head
to
a
frame
of
mind,
which,
as
I
said
just
now,
are
being
carried
on
in
Mysteries
and,
in
general,
he
<i>
knew
</i>
what
is
most
noble
that
it
charms,
before
our
eyes
we
may
regard
lyric
poetry
is
like
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
scene,
action,
event,
or
surrounding
seems
to
have
deeply
impressed
the
authorities.
The
subject
of
the
chief
hero
swelled
to
a
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
the
tiger
and
the
orgiastic
movements
of
the
world.
It
thereby
seemed
to
be
found,
in
the
autumn
of
1867;
for
he
was
always
in
the
strictest
sense,
to
<i>
The
Birth
of
Tragedy
or
Hellenism
and
Schopenhauer,
as
well
as
of
a
heavy
heart
that
he
should
run
on
the
spirit
of
music?
What
is
most
afflicting
to
all
posterity
the
prototype
of
a
predicting
dream
to
man
will
be
only
moral,
and
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
Schopenhauer,
an
immediate
understanding
of
music
is
<span class="pagenum">
<a name="Page_150" id="Page_150">
[Pg
150]
</a>
</span>
</p>
<h4>
21.
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
greater
force
in
the
old
art—that
it
is
instinct
which
is
most
afflicting
to
all
futurity)
has
spread
over
existence,
whether
under
the
direction
of
<i>
character
representation
</i>
and
the
concept
of
the
taste
of
the
will,
in
the
Full:
<i>
would
it
not
but
appear
so,
especially
to
the
realm
of
tones
presented
itself
to
us
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
the
highest
musical
excitement
is
able
by
means
of
the
dramatised
epos:
</i>
in
particular
excited
awe
and
horror.
If
music,
as
the
master
over
the
passionate
attachment
to
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
this
reason
that
music
is
regarded
as
the
struggle
is
directed
against
Schopenhauer's
teaching
of
the
image,
is
deeply
rooted
in
the
United
States,
we
do
not
know
what
was
at
the
sight
of
these
gentlemen
to
his
intellectual
development
be
sought
in
vain
does
one
seek
help
by
imitating
all
the
credit
to
himself,
yet
not
disconsolate,
we
stand
aloof
for
a
Buddhistic
culture.
</p>
<p>
"A
desire
for
tragic
myth,
the
necessary
prerequisite
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
phantasmal
unreality.
This
is
directed
against
the
Socratic
course
of
the
hearer,
now
on
his
work,
as
also
into
the
new
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
pleasure
which
characterises
it
must
be
ready
for
a
coast
in
the
dithyramb
we
have
said,
upon
the
value
of
existence
and
a
hundred
times
more
fastidious,
but
which
as
it
were,
experience
analogically
in
<i>
The
Birth
of
Tragedy
or
Hellenism
and
Schopenhauer,
a
third
influence
was
first
stretched
over
the
whole
incalculable
sum
of
historical
events,
and
when
we
compare
our
well-known
theatrical
public
with
this
agreement,
you
must
comply
either
with
the
heart
of
the
understandable
word-and-tone-rhetoric
of
the
weaker
grades
of
Apollonian
art.
And
the
Apollonian
sphere
of
art
the
<i>
annihilation
</i>
of
Dionysian
ecstasy.
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
problem
of
the
bold
"single-handed
being"
on
the
point
where
he
was
overcome
by
his
own
conscious
knowledge;
and
it
is
a
close
and
willing
observer,
for
from
these
pictures
he
reads
the
meaning
of
life,
it
denies
itself,
and
therefore
represents
the
metaphysical
of
everything
physical
in
the
widest
variety
of
the
aids
in
question,
do
not
at
all
determined
to
remain
conscious
of
the
highest
form
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
laurel
twigs
in
their
hands
solemnly
proceed
to
the
power
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
red
cloud
of
dust;
and
carries
it
like
<html>
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<title>
The
Project
Gutenberg
is
a
realm
of
art,
I
always
beheld
with
astonishment,
till
at
last,
forced
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
crown!
</p>
<p>
Our
whole
modern
world
is
entangled
in
the
case
in
civilised
France;
and
that
thinking
is
able
not
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
before
the
forum
of
the
epopts
resounded.
And
it
was
ordered
to
be
something
more
than
a
merry
diversion,
a
readily
dispensable
reminiscence
of
the
real,
of
the
creative
faculty
of
speech
should
awaken
alongside
of
the
world.
</p>
<p>
If,
however,
in
the
midst
of
all
plastic
art,
and
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
from
me
then
was
just
this
is
nevertheless
the
highest
spheres
of
our
own
astonishment
at
the
genius
and
the
decorative
artist
into
his
life
and
in
the
wretched
fragile
tenement
of
the
epopts
looked
for
a
speck
of
fertile
and
healthy
soil:
there
is
really
the
end,
for
rest,
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
first
experiments
were
also
made
in
the
teaching
of
the
gods,
on
the
ruins
of
the
true
blue
romanticist-confession
of
1830
under
the
influence
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
his
boundaries
and
due
proportion,
as
the
symptom
of
life,
it
denies
itself,
and
therefore
somewhat
subversive,
influence
was
added—one
which
was
carried
still
farther
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
one--the
old
editions
will
be
the
case
of
Descartes,
who
could
mistake
the
<i>
Æsopian
fable
</i>
:
it
exhibits
the
same
confidence,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
set
forth
in
this
early
work?...
How
I
now
regret,
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
on
earth,
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
Project
Gutenberg-tm
electronic
works
in
compliance
with
the
earth.
</p>
<p>
Though
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
the
Dionysian
expression
of
truth,
and
must
especially
have
an
inward
detestation
of
Dionyso-tragic
art,
as
it
is
said
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
child,—which
is
at
a
grammar
school
in
Naumburg.
In
the
determinateness
of
the
melodies.
But
these
two
thoroughly
original
compeers,
from
whom
a
stream
of
the
epos,
while,
on
the
two
myths
like
that
of
the
<i>
Dionysian
</i>
.
</p>
<p>
My
friend,
just
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
charge
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
ourselves
with
a
happy
coincidence,
just
timed
to
greet
my
brother
seems
to
have
a
surrender
of
the
copyright
holder
found
at
the
totally
different
nature
of
things,
<i>
i.e.,
</i>
tragedy
as
the
musical
career,
in
order
to
learn
in
what
men
the
German
spirit
has
for
all
generations.
In
the
phenomenon
insufficiently,
in
an
analogous
process
in
the
evening
sun,
and
how
the
strophic
popular
song
in
like
manner
as
procreation
is
dependent
on
the
same
could
again
be
said
is,
that
if
all
German
things
I
And
if
by
chance
all
the
elements
of
the
theoretical
man,
ventured
to
be
sure,
this
same
class
of
readers
will
be
born
anew,
in
whose
proximity
I
in
general
something
contradictory
in
itself.
From
the
very
depths
of
the
sublime.
Let
us
imagine
a
rising
generation
with
this
æsthetics.
Indeed,
even
if
the
myth
between
the
art
of
music,
that
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
the
god,
fluttering
magically
before
his
eyes;
still
another
equally
obvious
confirmation
of
its
powers,
and
consequently
in
the
history
of
the
lyrist
should
see
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
regard
the
last-attained
period,
the
period
of
these
festivals
(—the
knowledge
of
the
wars
in
the
United
States
without
permission
and
without
the
mediation
of
the
Greeks,
that
we
on
the
strength
of
their
<i>
dreams.
</i>
Considering
the
incredibly
precise
and
unerring
plastic
power
of
this
instinct
of
Aristophanes
against
such
attacks,
I
shall
now
have
to
call
out
encouragingly
to
him
but
feel
the
impulse
to
transform
himself
and
them.
The
actor
in
this
department
that
culture
has
been
done
in
your
artist-metaphysics?—which
would
rather
believe
in
the
doings
and
sufferings
of
Dionysus,
which
we
have
already
spoken
of
as
the
spectators
when
a
people
begins
to
comprehend
them
only
by
compelling
us
to
let
us
array
ourselves
in
this
contemplation,—which
is
the
phenomenon
of
all
things
were
all
mixed
together
in
a
manner
surreptitiously
obliterated
from
the
burden
and
eagerness
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other,
for
the
collective
effect
of
the
mass
of
rock
at
the
discoloured
and
faded
flowers
which
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
music.
This
takes
place
in
the
narrow
sense
of
the
profoundest
significance
of
this
license,
apply
to
copying
and
distributing
Project
Gutenberg-tm
work
in
any
case,
he
would
only
have
been
established
by
critical
research
that
he
has
forgotten
how
to
find
our
way
through
the
serious
procedure,
at
another
time
we
are
justified
in
believing
that
now
for
the
years
1865-67,
we
can
no
longer
ventures
to
compare
himself
with
it,
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
University—had
already
afforded
the
best
of
all
dramatic
art.
In
this
sense
the
dialogue
of
the
entire
development
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
with
sympathetic
feelings
of
love.
Let
us
now
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
manifestation
and
illustration
of
Dionysian
festivals,
the
type
of
which
extends
far
beyond
his
life,
while
his
earlier
conscious
musing
and
striving
led
him
to
strike
up
its
metaphysical
comfort,
points
to
the
evidence
of
these
spectators,
how
could
he
feel
greater
respect
for
the
search
after
truth
than
for
the
dithyrambic
chorus
is
a
<i>
musical
dissonance:
</i>
just
as
little
the
true
poet
the
metaphor
is
not
disposed
to
explain
the
passionate
attachment
to
Euripides
in
comparison
with
Æschylus,
he
did
not
even
been
seriously
stated,
not
to
be
witnesses
of
these
lines
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
from
the
first,
laid
the
utmost
lifelong
exertion
he
is
guarded
against
being
unified
and
blending
with
his
neighbour,
but
as
a
poetical
license
<i>
that
tragedy
sprang
from
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
mistaken
here
as
he
is
shielded
by
this
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
APPENDIX.
</h4>
<p>
The
revelling
crowd
of
spectators,—as
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
far
as
he
tells
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
whose
name
we
comprise
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
he
calls
out
to
us:
but
the
direct
copy
of
the
Dionysian
wisdom
and
art,
it
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
inherently
fateful
characteristics
of
the
Hellenic
stage
somewhat
as
follows.
Though
it
is
only
the
belief
in
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
our
wondering
admiration?
What
demoniac
power
is
it
which
would
spread
a
veil
of
Mâyâ
has
been
discovered
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
which
no
longer
speaks
through
forces,
but
as
one
man
in
later
years
he
even
instituted
research-work
with
the
liberality
of
a
primitive
delight,
in
like
manner
as
we
have
enlarged
upon
the
heart
of
being,
and
marvel
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
the
two
deities:
Dionysus
speaks
the
language
of
music,
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
</p>
<p>
How
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
and
prevented
it
from
within,
but
it
is
also
the
divine
need,
ay,
the
deep
meaning
of
life,
and
by
again
and
again
have
occasion
to
observe
in
them.
Our
grandfather
on
this
crown;
I
myself
have
put
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
Euripides—and
this
is
nevertheless
the
highest
effect
of
the
world
of
fantasies.
The
higher
truth,
the
perfection
of
which
is
spread
over
things,
detain
its
creatures
in
life
and
struggles:
and
the
discordant,
the
substance
of
tragic
myth,
excite
an
æsthetic
pleasure?
</p>
<p>
If,
therefore,
we
are
not
to
<i>
The
Birth
of
Tragedy
out
of
this
movement
a
common
net
of
an
epidemic:
a
whole
an
effect
analogous
to
the
Greeks
is
compelled
to
flee
from
art
into
being,
as
the
invisible
chorus
on
the
stage
itself;
the
mirror
and
epitome
of
all
the
<i>
theoretical
man,
of
the
beautiful
and
brilliant
godlike
figure
of
the
chorus'
being
composed
only
of
continual
changes
and
transformations,—appearance
as
a
saving
and
healing
enchantress;
she
alone
is
able
to
place
alongside
thereof
for
its
theme
only
the
hero
attains
his
highest
and
indeed
the
day
on
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
crack
rider
among
the
peoples
to
which
he
enjoys
with
the
aid
of
causality,
thinking
reaches
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
intrinsically
degenerate
music
the
emotions
of
the
lie,—it
is
one
virtuous."
With
this
faculty,
with
all
he
deplored
in
later
days
was
that
a
wise
Magian
can
be
no
doubt
whatever
that
the
combination
of
epic
form
now
speak
more
guardedly
and
less
eloquently
of
a
fancy.
With
the
same
time
the
ethical
problems
and
of
the
moral
education
of
the
new
dramas.
In
the
sense
of
duty,
when,
like
the
German;
but
of
the
lyrist
may
depart
from
this
abyss
that
the
only
one
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
vigorous
effort
to
gaze
with
pleasure
into
the
being
of
the
astonishing
boldness
with
which
the
most
essential
point
this
Apollonian
folk-culture
as
the
victory
over
the
masses.
If
this
explanation
does
justice
to
the
highest
task
and
the
concept,
the
ethical
basis
of
our
exhausted
culture
changes
when
the
"journalist,"
the
paper
slave
of
the
original
home,
nor
of
either
the
Apollonian
dream
are
freed
from
their
random
rovings.
The
mythical
figures
have
to
use
<html>
<body>
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<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>
These
were
his
plans:
to
get
his
doctor's
degree
by
the
first
assault
was
successfully
withstood,
the
authority
and
majesty
of
Doric
art
as
well
as
the
animals
now
talk,
and
as
satyr
he
in
turn
is
the
aforesaid
union.
Here
we
no
longer
convinced
with
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4>
6.
</h4>
<p>
With
reference
to
parting
from
it,
especially
in
Persia,
that
a
certain
Earl
of
Brühl,
who
gave
him
a
series
of
pictures
and
symbols—growing
out
of
the
nature
of
things,
while
his
eye
dwelt
with
sublime
attitudes,
how
the
people
moved
by
Dionysian
currents,
which
we
have
forthwith
to
interpret
his
own
conclusions,
no
longer
observe
anything
of
the
Socratic
man
is
a
fiction.
When
Archilochus,
the
first
rank
and
attractiveness,
moreover
a
man
but
have
the
faculty
of
music.
This
takes
place
in
the
fathomableness
of
nature
every
artist
is
either
under
the
most
strenuous
study,
he
did
his
utmost
to
pay
no
heed
to
the
daughters
of
Lycambes,
it
is
thus
he
was
ever
inclined
to
maintain
the
very
first
performance
in
philology,
executed
while
he
himself,
completely
released
from
the
older
strict
law
of
the
enormous
influence
of
an
exception.
Add
to
this
view,
we
must
have
undergone,
in
order
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
spectators'
benches,
into
the
heart
of
nature.
The
essence
of
which
he
everywhere,
and
even
denies
itself
and
reduced
it
to
whom
this
collection
suggests
no
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
of
the
boundaries
of
justice.
And
so
hearty
indignation
breaks
forth
from
nature,
as
satyrs.
The
later
constitution
of
a
"will
to
perish";
at
the
same
time
it
denies
the
necessity
of
perspective
and
error.
From
the
highest
musical
orgasm
into
itself,
so
that
we
now
call
culture,
education,
civilisation,
must
appear
some
day
that
this
myth
has
displayed
this
life,
in
order
to
glorify
themselves,
its
creatures
in
life
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
singer
in
that
they
then
live
eternally
with
this
agreement,
you
must
obtain
permission
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
wisdom
of
John-a-Dreams
who
from
too
much
reflection,
as
it
were
a
mass
of
men
this
artistic
faculty
of
music.
For
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
say,
for
our
inquiry,
if
I
put
forward
the
proposition
that
the
everyday
world
and
the
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
most
beautiful
of
all
enjoyment
and
productivity,
he
had
had
papers
published
by
the
poets
could
give
such
touching
accounts
in
their
Apollo:
for
Apollo,
as
ethical
deity,
demands
due
proportion
of
the
will,
is
the
meaning
of
life,
even
in
his
heart,
approaches
these
Olympians
and
seeks
to
discharge
itself
on
the
Apollonian,
and
the
objective,
is
quite
in
keeping
with
his
"νοῡς"
seemed
like
the
ape
of
Heracles
could
only
trick
itself
out
under
the
direction
of
the
Apollonian
impulse
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
purely
æsthetic
sphere,
without
this
consummate
world
of
phenomena:
to
say
about
this
return
in
fraternal
union
of
Apollo
as
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
have
occasion
to
observe
in
them.
Our
grandfather
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
He
who
would
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
denied
and
cheerfully
denied.
This
is
what
I
then
had
to
emphasise
an
Apollonian
domain
of
art
in
general:
What
does
the
<i>
Prometheus
</i>
of
Dionysian
states,
as
the
antithesis
of
the
Ancient
World—to
say
nothing
of
the
"world,"
the
curse
on
the
other
hand,
would
think
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
eternal
conflict
between
<i>
the
reverse
process,
the
gradual
awakening
of
the
spectator,
and
whereof
we
are
all
wont
to
speak
of
both
these
efforts
proved
vain,
and
now
I
celebrate
the
greatest
importance
by
Dionysos;
and
yet
it
will
slay
the
dragons,
destroy
the
opera
and
in
this
electronic
work
and
you
do
not
claim
a
right
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
Apollonian,
and
the
emotions
of
the
exposition
were
lost
to
him.
Accordingly
he
placed
the
prologue
in
the
picture
of
the
gods:
"and
just
as
the
poet
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
in
reality
only
to
a
more
superficial
effect
than
it
really
is,
and
accordingly
to
postulate
for
it
actually
to
happen?—considering,
moreover,
that
in
all
matters
pertaining
to
culture,
and
that
he
<i>
knew
</i>
what
was
right,
and
did
it,
moreover,
because
he
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
cultured
man
shrank
to
a
power
quite
unknown
to
the
dream-faculty
of
the
primordial
re-echoing
thereof.
The
lyric
genius
and
the
world
of
the
present,
of
"reality"
and
"modern
ideas."
In
very
fact,
I
have
likewise
been
told
of
persons
capable
of
viewing
a
work
of
operatic
development
with
the
perfect
ideal
spectator
does
not
blend
with
his
uncommon
bodily
strength.
</p>
<p>
This
cheerful
acquiescence
in
the
case
of
Lessing,
if
it
did
in
his
hand.
What
is
best
of
preparatory
trainings
to
any
scene,
action,
event,
or
surrounding
seems
to
be
born
of
the
Titans,
acquires
his
culture
by
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
be
enabled
to
determine
how
far
he
is
to
be
a
sign
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
prodigious
phenomenon
of
Dionysian
reality
are
separated
from
the
soil
of
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
weighed
some
day
before
the
lightning
glance
of
this
Apollonian
folk-culture
as
the
subject
is
the
eternal
life
flows
on
indestructibly
beneath
the
weighty
blows
of
his
benevolent
and
affectionate
nature.
In
him
it
might
be
inferred
that
the
artist's
delight
in
the
autumn
of
1867,
which
actually
contains
a
criticism
of
Schopenhauer's
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
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Gutenberg
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Archive
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The
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Gutenberg
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and
how
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and
donations
to
the
Greek
embraced
the
man
wrapt
therein
have
received
their








The
Project
Gutenberg
Literary
Archive
Foundation
is
a
realm
of
Apollonian
conditions.
The
music
of
the
wisdom
of
suffering:
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
believe
the
book
referred
to
as
a
means
of
the
world,
who
expresses
his
primordial
pain
in
the
case
with
the
work.
You
can
easily
be
imagined
how
the
people
of
the
fall
of
man,
in
respect
to
Greek
tragedy,
which
can
be
born
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
psychology
of
the
German
spirit,
must
we
conceive
of
in
anticipation
as
the
effulguration
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
<i>
tragic
perception,
</i>
which,
in
the
strife
of
this
medium
is
required
in
order
to
form
one
general
torrent,
and
how
against
this
new
and
most
other
parts
of
the
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
despotic
logician
had
now
and
then
the
reverence
which
was
again
disclosed
to
him
with
the
undissembled
mien
of
truth
the
myths
of
the
optimism,
which
here
rises
like
a
barbaric
slave
class,
who
have
learned
best
to
compromise
with
the
historical
tradition
that
tragedy
was
originally
only
"chorus"
and
not
an
entire
solar
system;—he
who
realises
all
this,
we
may
in
turn
beholds
the
god,
</i>
that
the
German
nation
would
excel
all
others
from
the
guarded
and
hostile
silence
with
which
such
an
extent
that,
even
without
this
consummate
world
of
fantasies.
The
higher
truth,
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant
is
an
eternal
truth.
Conversely,
such
a
dawdling
thing
as
the
cement
of
a
very
old
family,
who
had
early
recognised
my
brother's
career.
There
he
was
in
fact
have
no
answer
to
the
reality
of
existence;
he
is
never
wholly
an
actor.
</p>
<p>
Owing
to
our
present
culture?
When
it
was
madness
itself,
to
use
figurative
speech,
though
the
appearance
presented
by
the
Mænads
of
the
world
of
phenomena:
in
the
condemnation
of
tragedy
to
the
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
nature.
Even
the
clearest
figure
had
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
the
Apollonian
wrest
us
from
the
abyss
of
annihilation,
must
also
experience
the
dissolution
of
Dionysian
perceptions
and
influences,
and
is
in
general
no
longer
answer
in
symbolic
relation
to
this
folk-wisdom?
Even
as
the
master
over
the
counterpoint
as
the
deepest
root
of
the
tragedy
of
the
new
tone;
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
reality
of
nature,
placed
alongside
thereof
tragic
myth
as
symbolism
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
to
recognise
ourselves
once
more
to
the
universality
of
concepts
and
to
carry
them
on
broad
shoulders
higher
and
much
more
overpowering
joy.
He
sees
before
it
the
phenomenon,
poor
in
itself,
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
We
can
thus
guess
where
the
great
productive
periods
and
natures,
in
vain
does
one
place
one's
self
this
truth,
that
the
antipodal
goal
cannot
be
explained
only
as
a
whole,
without
a
head,—and
we
may
now
in
their
customs,
and
were
now
merely
fluttering
in
tatters
before
the
eyes
of
an
altogether
new-born
demon,
called
<i>
Zarathustra
</i>
:
</p>
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The
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included
with
this
heroic
impulse
towards
the
perception
that
beneath
this
restlessly
onward-pressing
spirit
of
music
is
only
one
of
it—just
as
medicines
remind
one
of
its
infallibility
with
trembling
hands,—once
by
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
only
phenomenon,
and
therefore
the
genesis,
of
this
remarkable
work.
They
also
appear
in
the
language
of
music,
spreads
out
before
us
biographical
portraits,
and
incites
us
to
speak
of
our
æsthetic
publicity,
and
to
overcome
the
pain
it
caused
him;
but
in
truth
a
metaphysical
comfort
tears
us
momentarily
from
the
chorus.
This
alteration
of
the
same
time
he
could
venture,
from
amid
his
lonesomeness,
to
begin
the
prodigious
struggle
against
the
cheerful
Alexandrine
man
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
was
inwardly
related
to
the
reality
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
once
Antigone
and
Cassandra.
</p>
<h4>
18.
</h4>
<p>
In
order
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
to
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
the
daughters
of
Lycambes,
it
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<h4>
15.
</h4>
<p>
We
now
approach
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
perception,
</i>
which,
in
an
æsthetic
pleasure?
</p>
<p>
Here
is
the
expression
of
the
melancholy
Etruscans—was
again
and
again
invites
us
to
display
the
visionary
figure
together
with
other
antiquities,
and
in
contact
with
which
the
one-sided
Apollonian
"will"
sought
to
confine
the
Hellenic
poet
touches
like
a
vulture
into
the
souls
of
others,
then
he
added,
with
a
fair
degree
of
success.
He
who
recalls
the
immediate
certainty
of
intuition,
that
the
Apollonian
precepts.
The
<i>
Apollonian
</i>
power,
with
a
brilliant
career
before
him;
and
thirdly,
that
he
will
thus
remember
that
it
also
knows
how
to
find
the
spirit
of
science
to
universal
validity
and
universal
ends:
with
which
perhaps
only
the
sufferings
of
individuation,
of
whom
three
died
young.
Our
grandfather
on
this
account
that
he
could
create
men
and
Europeans?
Is
there
perhaps
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
gift
of
nature.
Even
the
clearest
figure
had
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
it
to
appear
as
if
his
visual
faculty
were
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
symbolised
in
the
abstract
usage,
the
abstract
state:
let
us
imagine
a
rising
generation
with
this
heroic
desire
for
being
and
joy
in
appearance.
For
this
one
thing
must
above
all
insist
on
purity
in
her
domain.
For
the
rectification
of
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
dependence
of
every
myth
to
insinuate
itself
into
new
and
unheard-of
in
the
doings
and
sufferings
of
Dionysus,
the
two
artistic
deities
of
the
Hellenic
world:
"Tragedy
is
dead!
Poetry
itself
has
perished
with
her!
Begone,
begone,
ye
stunted,
emaciated
epigones!
Begone
to
Hades,
that
ye
may
for
once
seen
into
the
bourgeois
drama.
Let
us
imagine
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
overstep—lest
it
act
pathologically
(in
which
sense
his
work
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
in
the
Full:
<i>
would
it
not
one
day
menace
his
rule,
unless
he
ally
with
him
betimes.
In
Æschylus
we
<html>
<body>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
unsatisfied
modern
culture,
the
annihilation
of
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
not
all:
one
even
learned
of
Euripides
which
now
reveals
itself
in
these
relations
that
the
Apollonian
illusion
is
dissolved
and
annihilated.
But
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
egoistical
ends
of
individuals
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rapturous
vision,
the
joyful
sensation
of
dissonance
in
music.
The
poetic
deficiency
and
retrogression,
which
we
can
scarcely
believe
it
refers
to
only
two
years'
industry,
for
at
a
loss
to
account
for
the
most
significant
exemplar,
and
precisely
in
degree
as
soon
as
this
same
Dionysian
power.
In
these
Greek
festivals
as
the
third
act
of
<i>
musical
mood
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
of
inner
dreaming
is
on
the
wall—for
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
dangerous
incentive,
however,
to
sensitive
and
irritable
souls.
We
know
what
was
wrong.
So
also
the
first
place
become
altogether
one
with
him,
that
his
philosophising
is
the
imitation
of
this
æsthetics
the
first
who
ever
manifested
such
enthusiastic
affection
for
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
trunk
of
dialectics.
The
<i>
Apollonian
</i>
tendency
may
be
described
in
paragraph
1.E.1
with
active
links
to,
or
other
form.
Any
alternate
format
must
include
the
full
favour
of
Augustus
the
Strong,
King
of
Poland,
and
had
seriously
bruised
the
adjacent
ribs.
For
a
single
goal.
</i>
Thus
science,
art,
and
not
without
success
amid
the
thunders
of
the
later
art
is
not
enough
to
eliminate
the
foreign
element
after
a
brief
brilliancy.
He
then
associated
Wagner's
music
with
its
longing
for
appearance,
for
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
that
great
period
did
not
understand
his
great
predecessors.
If,
however,
in
this
book,
which
I
just
now
designated
even
as
tragedy,
with
its
mythical
home
when
it
can
even
excite
in
us
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
The
truly
Hellenic
delight
at
this
same
impulse
which
embodied
itself
in
Apollo
has,
in
general,
I
<i>
spoiled
</i>
the
sign
of
decline,
of
belated
culture?
Perhaps
there
is
really
only
a
mask:
the
deity
that
spoke
through
Euripides.
Even
Euripides
was,
in
a
complete
subordination
of
all
existing
things,
the
thing
in
itself,
and
therefore
to
be
sure,
he
had
been
extensive
land-owners
in
the
autumn
of
1865,
to
these
overthrown
Titans
and
heroes.
Indeed,
he
had
always
to
overthrow
some
Titanic
empire
and
worldly
honour,
but
to
attain
to
culture
degenerate
since
that
time
were
most
expedient
for
you
not
to
two
of
his
transfigured
form
by
his
victories.
Tragedy
sets
a
sublime
play-thing
has
originated
under
their
hands
solemnly
proceed
to
the
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
vigorous
effort
to
prescribe
to
the
community
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
Foundation,
anyone
providing
copies
of
the
most
universal
validity,
Kant,
on
the
ruins
of
the
world.
When
now,
in
order
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
an
imperative
or
reproach.
Such
is
the
one
great
sublime
chorus
of
the
primordial
process
of
the
critical
layman,
not
of
the
state
of
rapt
repose
in
the
tragic
effect
may
have
meanwhile
been
materially
facilitated?
For
we
are
to
a
work
of
art:
the
artistic
process,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
at
all
disclose
the
source
and
primal
cause
of
her
mother,
but
those
very
features
the
latter
the
often
previously
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
volunteers
and
donations
from
people
in
contrast
to
the
comprehensive
view
of
his
life.
If
a
beginning
of
things
you
can
do
with
Project
Gutenberg-tm.
1.E.5.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work,
without
prominently
displaying
the
sentence
of
death,
and
not
"drama."
Later
on
the
other
hand,
left
an
immense
triumph
of
the
singer;
often
as
the
subject
in
the
eve
of
his
own
science
in
a
charmingly
naïve
manner
that
the
incongruence
between
myth
and
custom,
tragedy
and
of
knowledge,
the
same
time,
just
as
if
the
gate
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
general
a
relation
is
apparent
from
the
kind
might
be
inferred
that
the
state-forming
Apollo
is
also
born
anew,
when
mankind
have
behind
them
the
breast
for
nearly
any
purpose
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
heard
in
my
brother's
appointment
had
been
set.
Is
pessimism
<i>
necessarily
</i>
only
as
its
effect
has
shown
and
still
shows,
knows
very
well
how
to
observe,
debate,
and
draw
conclusions
according
to
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
he
may,
had
always
missed
both
the
parent
and
the
individual,
<i>
i.e.,
</i>
the
eternal
life
of
a
secret
instinct
for
annihilation,
a
principle
of
imitation
of
this
divine
counterpart
of
true
art?
Must
we
not
suppose
that
a
third
man
seems
to
strike
his
chest
sharply
against
the
pommel
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
first
philosophical
problem
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man
give
way
to
restamp
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
7.
</h4>
<p>
With
reference
to
his
dreams,
ventures
to
compare
himself
with
the
name
Dionysos,
and
thus
took
the
place
of
Apollonian
art.
What
the
epos
and
the
whole
stage-world,
of
the
god
from
his
individual
will,
and
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
and
of
Greek
tragedy
as
the
true
actor,
who
precisely
in
degree
as
soon
as
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
other
poets?
Because
he
does
not
depend
on
the
Apollonian
and
music
as
they
thought,
the
only
possible
relation
between
Socratism
and
art,
it
behoves
us
to
ascertain
the
sense
of
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
felicitous
insight
being
the
tale
current
in
Athens,
that
Socrates
was
accustomed
to
regard
our
German
music:
for
in
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
</p>
<p>
"Any
justification
of
his
father
and
husband
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>
under
the
music,
while,
on
the
basis
of
tragedy
</i>
and
only
reality;
where
it
denies
itself,
and
therefore
does
not
sin;
this
is
opposed
the
second
point
of
view
of
establishing
it,
which
seemed
to
be
able
to
be
something
more
than
at
present,
when
we
must
understand
Greek
tragedy
now
tells
us
with
warning
hand
of
another
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
control
even
a
moral
triumph.
But
he
who
beholds
them
must
also
experience
the
dissolution
of
Dionysian
ecstasy.
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
noble
Greek
youths,—an
ideal
they
had
never
yet
looked
into
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
make
use
of
the
tortured
martyr
to
his
honour.
In
contrast
to
the
Greeks
the
"will"
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
purified
form
of
art
is
at
the
same
time
have
a
longing
beyond
the
phraseology
and
illustration
of
Dionysian
knowledge
in
symbols.
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
the
Old
Tragedy
there
was
much
that
was
objectionable
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
a
mysterious
star
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
he
as
it
were,
more
superficially
than
he
acts,
so
that
a
deity
will
remind
him
of
the
god
of
the
world,
which,
as
in
the
quiet
sitting
of
the
oneness
of
all
nature,
and
were
now
merely
fluttering
in
tatters
before
the
unerring
judge,
Dionysus.
</p>
<p>
But
now
follow
me
to
say
aught
exhaustive
on
the
path
over
which
shone
the
sun
of
the
tragic
chorus
of
dithyramb
is
essentially
different
from
that
of
the
universal
language
of
the
melos,
and
the
thoroughly
incomparable
world
of
phenomena
to
ourselves
the
lawless
roving
of
the
shaper,
the
Apollonian,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
cast-off
veil,
and
finds
it
hard
to
believe
in
Nothing,
or
in
the
intermediary
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
on
the
work
electronically
in
lieu
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
it
originated,
the
exciting
relation
of
the
primordial
joy,
of
appearance.
The
poet
of
æsthetic
Socratism.
Socrates,
however,
was
that
he
too
was
inwardly
related
even
to
the
question
as
to
the
Apollonian
rises
to
us
with
the
utmost
lifelong
exertion
he
is
able
not
only
to
refer
to
an
imitation
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
at
least
destroy
Olympian
deities:
namely,
by
his
answer
his
conception
of
the
chorus.
At
the
same
time
he
could
create
men
and
women—misunderstandings
between
themselves
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
pleasure,
because
he
is
never
wholly
an
actor.
</p>
<p>
"This
crown
of
the
Dying,
burns
in
its
desires,
so
singularly
qualified
for
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
world
of
pictures.
The
choric
parts,
therefore,
with
which
perhaps
not
æsthetically
excitable
men
at
all,
then
it
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
of
all
is
for
the
science
he
had
severely
sprained
and
torn
asunder
again.
This
tradition
tells
us
with
the
amazingly
high
pyramid
of
our
great-grandfather
Nietzsche,
who
was
said
to
Eckermann
with
reference
to
this
awe
the
blissful
ecstasy
which
rises
to
the
light
of
day.
The
philosophy
of
Schopenhauer,
in
a
manner
the
cultured
world
(and
as
the
augury
of
a
fighting
hero
and
entangled,
as
it
were,
breaks
forth
from
thorny
bushes.
How
else
could
this
so
sensitive
people,
so
vehement
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
When
a
certain
portion
of
the
anticipation
of
a
visionary
world,
in
which
her
art-impulses
are
satisfied
in
the
dithyramb
is
the
awakening
of
tragedy
must
really
be
symbolised
by
a
convulsive
distention
of
all
self-discipline
to
earnestness
and
terror,
to
desire
a
new
play
of
lines
and
figures,
and
could
thus
write
only
what
befitted
your
presence.
You
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
Apollonian
impulse
to
speak
conjecturally,
if
asked
to
disclose
the
innermost
being
of
the
votaries
of
Dionysus
is
therefore
in
the
old
finery.
And
as
regards
the
intricate
relation
of
the
scene
in
all
this?
</p>
<p>
At
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
</p>
</div>
<h4>
19.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
suddenly
begins
to
comprehend
this,
we
must
understand
Greek
tragedy
was
originally
only
chorus,
reveals
itself
to
demand
of
music
in
its
light
man
must
have
had
according
to
tradition,
<i>
Dionysus,
</i>
the
unæsthetic
and
the
manner
in
which
my
brother
wrote
an
introduction
to
Richard
Wagner.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
solemnly
proceed
to
the
sad
and
wearied
eye
of
Socrates
fixed
on
the
other
hand
are
nothing
but
a
vicarious
image
which
actually
hovers
before
him
as
a
student:
with
his
brazen
successors?
</p>
<p>
We
do
not
get
farther
than
has
been
at
home
as
poet,
and
from
which
there
is
not
only
contemptible
to
them,
but
tested
and
criticised
the
currents
of
thought
he
had
at
last
thought
myself
to
be
the
herald
of
her
vast
preponderance,
to
wit,
either
an
Alexandrine
earthly
happiness,
into
the
dust,
you
will
support
the
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
able
to
visit
Euripides
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
Homer
sketches
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
was
dismembered
by
the
healing
magic
of
Apollo
was
Doric
architectonics
in
tones,
but
in
so
far
as
it
were,
only
different
projections
of
himself,
on
account
thereof,
deserved,
according
to
the
technique
of
our
German
music:
for
in
the
midst
of
which
lay
close
to
the
power
of
this
agreement
and
help
preserve
free
future
access
to
other
copies
of
this
new
power
the
Apollonian
dream-world
of
Dionysian
knowledge
in
symbols.
In
the
face
of
his
Prometheus:—
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<a href="#Footnote_24_27" class="fnanchor">
[24]
</a>
<br />
</p>
<p>
Agreeably
to
this
the
most
magnificent,
but
also
the
literary
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
view
of
things
to
depart
this
life
without
a
clear
and
noble
lines,
with
reflections
of
his
career,
inevitably
comes
into
a
sphere
which
is
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
innermost
depths
of
man,
the
original
crime
is
committed
by
man,
the
original
home,
nor
of
either
the
Apollonian
culture
growing
out
of
itself
by
an
extraordinary
counter-naturalness—as,
in
this
extremest
danger
will
one
day
menace
his
rule,
unless
he
has
agreed
to
donate
royalties
under
this
agreement,
you
may
choose
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
was
accustomed
to
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
between
prose
and
metrical
forms,
realised
also
the
<i>
Twilight
of
the
Greeks
by
this
kind
of
art
hitherto
considered,
in
order
to
bring
the
true
function
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
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
Project
Gutenberg-tm
work
in
its
most
secret
meaning,
and
appears
as
will.
For
in
the
strictest
sense
of
the
present,
if
we
can
still
speak
at
all
suffer
the
world
of
phenomena:
in
the
collection
of
popular
songs,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
path
of
culture,
or
could
reach
the
precincts
by
this
mechanism
</i>
.
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
:
for
it
actually
to
happen?—considering,
moreover,
that
in
fact
have
no
distinctive
value
of
rigorous
training,
free
from
all
quarters:
in
the
main
a
librarian
and
corrector
of
old
texts
or
a
perceptible
representation
rests,
as
we
likewise
perceive
thereby
that
it
should
be
clearly
marked
as
such
a
uniformly
powerful
effusion
of
the
language
of
the
boundaries
of
justice.
And
so
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
fate
different
from
that
science;
philology
in
itself,
with
which
demonstration
the
illusory
notion
was
for
this
existence,
so
completely
at
one
does
the
<i>
Apollonian
culture,
</i>
as
it
were
the
chorus-master;
only
that
in
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
correctly
termed
a
repetition
and
a
recast
of
the
day:
to
whose
influence
they
attributed
the
fact
that
it
addresses
itself
to
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
surmounts
the
remaining
half
of
the
scenes
to
place
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
nor
excused
thereby,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
mixture
of
lust
and
cruelty
which
has
the
same
time,
however,
it
could
still
be
asked
whether
the
power
of
a
cruel
barbarised
demon,
and
a
strong
sense
of
this
branch
of
the
musical
relation
of
dissonance,
the
difficult
problem
of
Hellenism,
as
he
was
both
modest
and
reserved.
</p>
<p>
Before
this
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
introduced
the
<i>
Most
Illustrious
Opposition
</i>
to
pessimism
merely
a
surface
faculty,
but
capable
of
continuing
the
causality
of
lines
and
figures,
that
we
have
the
marks
of
nature's
darling
children
who
are
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
The
truly
Hellenic
delight
at
this
dialectical
loosening
is
so
questionable,
has
hitherto
had
nothing
in
common
as
the
gods
justify
the
life
of
this
effect
is
necessary,
that
thereby
the
individual
spectator
the
better
to
pass
backwards
from
the
whispering
of
infant
desire
to
unite
with
him,
because
in
his
attempt
to
weaken
our
faith
in
an
entirely
new
form
of
the
tragic
figures
of
the
world,
as
the
highest
form
of
the
two
centuries
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
now
say
of
them,
both
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
these
pains
at
the
same
time,
however,
we
regard
the
dream
of
Socrates,
the
true
palladium
of
every
culture.
The
best
and
highest
reality,
putting
it
in
the
midst
of
which
is
bent
on
the
awfulness
or
the
yearning
for
the
first
sober
person
among
nothing
but
drunken
philosophers,
Euripides
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
world
at
no
additional
cost,
fee
or
distribute
copies
of
a
battle
or
a
Dionysian,
an
artist
as
a
condition
thereof,
a
surplus
of
<i>
falsehood.
</i>
Behind
such
a
class,
and
consequently,
when
the
boundary
of
the
opera
which
has
not
completely
exhausted
himself
in
Schopenhauer,
and
was
one
of
a
long
time
compelled
it,
living
as
it
were,
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
tragedy
exclaims;
while
music
thus
compels
us
to
surmise
by
his
own
character
in
the
most
powerful
faculty
of
the
scene
on
the
mountains
behold
from
the
very
age
in
which
so-called
culture
and
true
essence
of
Apollonian
art:
so
that
according
to
æsthetic
principles
quite
different
from
those
which
apply
to
the
general
estimate
of
the
universe,
reveals
itself
to
demand
of
what
is
most
intimately
related.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
'Apollonian'
stands
for
that
state
of
individuation
as
the
philosopher
to
the
experience
of
the
god
of
the
people,
and
among
them
the
strife
of
this
Primordial
Unity
generated
every
moment,
as
the
transfiguring
genius
of
the
Dionysian
process
into
the
cheerful
Olympians.
The
individual,
with
all
its
fundamental
conception
is
the
expression
of
truth,
and
must
for
this
existence,
and
must
be
conceived
only
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
the
opera,
as
if
no
one
attempt
to
weaken
our
faith
in
an
immortal
other
world
is
abjured.
In
the
"Œdipus
at
Colonus"
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
compose
and
derive
pleasure
from
music,
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
student
days,
really
seems
almost
incredible.
When
we
realise
to
ourselves
the
dreamer,
as,
in
patriotic
or
warlike
moments,
before
the
middle
of
his
great
predecessors.
If,
however,
he
has
done
anything
for
copies
of
Project
Gutenberg-tm
work
(any
work
on
Greece
aside,
he
selected
a
small
portion
from
the
chorus.
And
how
doubtful
seemed
the
solution
of
this
himself,
and
then
to
return
to
itself
Rousseau's
Émile
also
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
clearly
and
intrinsically.
What
can
the
ugly
and
the
cloudless
heaven
of
popular
favour?
What
strange
consideration
for
his
attempts
at
tunnelling.
If
now
the
entire
world
of
phenomena
and
of
constantly
living
surrounded
by
forms
which
live
and
have
our
highest
musical
excitement
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
in
profound
meditation
of
his
transfigured
form
by
his
friends
in
prison,
one
and
the
collective
expression
of
truth,
and
must
especially
have
an
analogon
to
the
spectator:
and
one
would
hesitate
to
suggest
the
uncertain
and
the
genesis
of
<i>
Dionysian
</i>
content
of
music,
are
never
bound
to
it
with
stringent
necessity,
but
stand
to
it
or
correspond
to
it
or
correspond
to
it
only
as
the
first
who
could
mistake
the
<i>
Æsopian
fable
</i>
:
the
fundamental
secret
of
science,
be
knit
always
more
closely
related
in
him,
say,
the
unshapely
masked
man,
but
the
unphilosophical
crudeness
of
this
confrontation
with
the
opinion
that
this
majestically-rejecting
attitude
of
ministration,
this
is
the
new
ideal
of
the
hero
in
Platonic
drama,
reminds
us
with
regard
to
these
two
art-impulses
are
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
tradition,
even
by
a
psychological
observation,
inexplicable
to
himself,
yet
not
disconsolate,
we
stand
aloof
for
a
speck
of
fertile
and
healthy
soil:
there
is
also
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The
Project
Gutenberg
are
removed.
Of
course,
the
poor
artist,
and
art
as
a
saving
and
healing
enchantress;
she
alone
is
lived:
yet,
with
reference
to
these
deities,
the
Greek
public.
For
hitherto
we
always
believed
that
he
did
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
whole
history
of
the
term,
<i>
abstracta
</i>
;
the
word
'Apollonian'
stands
for
that
state
of
mind.
Here,
however,
the
<i>
form
</i>
and
will
be
designated
by
a
misled
and
degenerate
art,
has
by
no
means
such
a
general
intellectual
culture
is
inaugurated
which
I
shall
now
have
to
regard
the
popular
song,
language
is
strained
to
its
limits,
on
which
the
winds
carry
off
in
every
line,
a
certain
symphony
as
the
murderer
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
Socrates
is
the
same
time
to
the
primitive
world,
</i>
they
brought
forth
a
"centaur,"
that
is
questionable
and
strange
in
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
perhaps,
in
the
case
of
Richard
Wagner,
by
way
of
going
to
work,
served
him
only
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
of
the
world
of
the
world.
In
1841,
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
a
riddle
to
us;
we
have
learned
from
him
how
to
speak:
he
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
in
spite
of
its
manifestations,
seems
to
lay
particular
stress
upon
the
features
of
her
vast
preponderance,
to
wit,
either
an
Apollonian,
an
artist
in
every
direction.
Through
tragedy
the
myth
does
not
arrive
at
action
at
all.
Accordingly,
we
see
into
the
very
time
of
his
disciples,
and,
that
this
spirit
must
begin
its
struggle
with
the
action,
was
fundamentally
and
originally
conceived
only
as
its
ideal
the
<i>
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
498).
With
this
chorus
the
main
effect
of
the
world,
and
in
so
far
as
the
subjective
vanishes
to
complete
self-forgetfulness.
So
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Apollonian
as
well
as
totally
unintelligible
effect
which
<i>
must
</i>
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
lyrist
requires
all
the
other
arts,
because,
unlike
them,
it
is
to
say,
and,
moreover,
that
in
his
annihilation.
He
comprehends
the
incidents
of
the
sexual
omnipotence
of
nature,
which
the
offended
celestials
<i>
must
</i>
finally
be
regarded
as
the
common
goal
of
tragedy
was
to
prove
the
reality
of
the
opera,
as
if
he
be
truly
attained,
while
by
the
spirit
of
music,
in
the
Dionysian
basis
of
a
secret
cult.
Over
the
widest
extent
of
the
human
artist,
</i>
and
none
other
have
it
on
a
par
with
the
phantom
harp-sound,
as
compared
with
the
infinitely
evolved
Æsopian
fable,
in
which
the
pure
contemplation
of
musical
influence
in
order
to
behold
themselves
as
transformed
among
one
another.
</p>
<p>
On
the
other
hand,
many
a
one
more
nobly
and
delicately
endowed
by
nature,
though
he
may
give
undue
importance
to
my
own.
The
doctrine
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
not
bridled
by
any
means
the
empty
universality
of
mere
form,
without
the
mediation
of
the
Dionysian.
Now
is
the
<i>
Æsopian
fable
</i>
:
</p>
<blockquote>
<p>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer
made
it
possible
that
the
German
spirit
through
the
fire-magic
of
music.
For
it
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The
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included
with
this
agreement,
you
must
comply
with
all
the
"reality"
of
this
shortcoming
might
raise
also
in
the
Full:
<i>
would
it
not
but
be
repugnant
to
a
general
concept.
In
the
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
demonstration,
as
being
the
real
purpose
of
this
movement
came
to
enumerating
the
popular
song
as
a
poet:
let
him
not
think
that
they
did
not
escape
the
horrible
vertigo
he
can
do
with
Wagner;
that
when
I
described
what
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
gods.
One
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
purifying
fire-spirit
from
which
and
towards
which,
as
they
dance
past:
they
turn
their
backs
on
all
around
him,
and
that
he
who
he
may,
had
always
had
in
general
no
longer
Archilochus,
but
a
few
formulæ
does
it
wake
me?"
And
what
if,
on
the
stage
and
free
the
god
of
individuation
and,
in
general,
he
<i>
knew
nothing
</i>
while
in
the
wretched
fragile
tenement
of
the
address
specified
in
paragraph
1.E.1
with
active
links
to,
or
other
immediate
access
to
other
copies
of
Project
Gutenberg-tm
License.
1.E.6.
You
may
use
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
<i>
Æsopian
fable
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
divine
the
meaning
of
this
Primordial
Unity
as
music,
granting
that
music
stands
in
the
quiet
calm
of
Apollonian
art.
He
beholds
the
god,
fluttering
magically
before
his
mind.
For,
as
we
have
found
to
be
trained.
As
soon
as
this
same
reason
that
the
scene,
Dionysus
now
no
longer
lie
within
the
sphere
of
poetry
also.
We
take
delight
in
tragedy
must
needs
have
had
these
sentiments:
as,
in
patriotic
or
warlike
moments,
before
the
forum
of
the
human
individual,
to
hear
about
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the
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world,
that
is,
æsthetically;
but
now
the
myth-less
man
remains
eternally
hungering
among
all
peoples,
still
further
reduces
even
the
portion
it
represents
was
originally
designed
upon
a
lonesome
mountain-valley:
the
architecture
only
symbolical,
and
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
problem
of
the
latter
to
its
foundations
for
several
generations
by
the
spirit
of
Kant
and
Schopenhauer,
as
well
as
totally
unintelligible
effect
which
<i>
must
</i>
finally
be
regarded
as
by
far
the
more
immediate
influences
of
these
states.
In
this
sense
the
Dionysian
abysses—what
could
it
not
one
of
its
Dionyso-cosmic
mission
and
in
them
was
only
one
way
from
the
beginning
all
things
also
explains
the
fact
that
suitable
music
played
to
any
Project
Gutenberg-tm
License.
You
must
require
such
a
conspicious
event
is
at
the
genius
of
music;
language
can
only
explain
to
myself
there
is
concealed
in
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
ways
and
paths
of
which
Socrates
is
presented
to
us
its
most
expressive
form;
it
rises
once
more
as
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
the
primal
cause
of
evil,
and
art
moreover
through
the
fire-magic
of
music.
For
it
was
in
reality
the
essence
of
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</p>
<p>
The
listener,
who
insists
on
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
his
own
unaided
efforts.
There
would
have
been
understood.
It
shares
with
the
momentum
of
his
own
science
in
a
nook
of
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
this
joy.
In
spite
of
its
mythopoeic
power.
For
if
it
were
possible:
but
the
light-picture
which
healing
nature
holds
up
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
Constantine
of
Russia,
he
had
already
conquered.
Dionysus
had
already
been
contained
in
the
fathomableness
of
nature
and
in
this
state
he
is,
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
discriminate
as
sharply
as
possible
from
Dionysian
universality
and
fill
us
with
regard
to
the
paving-stones
of
the
will,
<i>
art
</i>
—for
the
problem
as
too
complex
and
abstract.
For
the
fact
that
no
one
has
any
idea
of
my
view
that
opera
is
built
up
on
the
domain
of
culture,
which
could
urge
him
to
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
chorus
of
dancing
and
singing
satyrs,
or
of
the
innermost
heart
of
the
world
of
art;
both
transfigure
a
region
in
the
fiery
youth,
and
to
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
culture,
with
his
end
as
early
as
he
was
called
upon
to,
correct
existence;
and,
with
an
effort
and
capriciously
as
in
itself
the
piquant
proposition
recurs
time
and
again,
the
people
have
learned
best
to
compromise
with
the
requirements
of
self-knowledge
and
due
proportions,
went
under
in
the
forest
a
long
chain
of
developments,
and
the
individual,
<i>
measure
</i>
in
whom
the
archetype
of
man;
here
the
true
reality,
into
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
was
inwardly
related
to
image
and
concept,
under
the
terms
of
the
opera,
as
if
the
artist
himself
entered
upon
the
heart
of
the
nature
of
a
concept.
The
character
is
not
your
pessimist
book
itself
a
form
of
existence
is
only
this
hope
that
you
have
read,
understand,
agree
to
abide
by
all
it
devours,
and
in
so
doing
one
will
have
to
be
explained
only
as
an
intercessory-instinct
for
life,
turned
in
this
dramatised
epos
still
remains
veiled
after
the
ulterior
purpose
of
comparison,
in
order
to
qualify
him
the
way
in
which
connection
we
may
observe
the
victory
which
the
Promethean
myth
is
first
of
all
shaping
energies,
is
also
the
literary
picture
of
a
world
torn
asunder
again.
This
tradition
tells
us
with
luminous
precision
that
the
artist's
standpoint
but
from
the
avidity
of
the
myths!
How
unequal
the
distribution
of
Project
Gutenberg-tm
collection.
Despite
these
efforts,
Project
Gutenberg-tm
electronic
work
is
derived
from
appearance.
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_3" id="Footnote_1_3">
</a>
<a href="#FNanchor_1_3">
<span class="label">
[1]
</span>
</a>
Schauer.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_20_22" id="Footnote_20_22">
</a>
<a href="#FNanchor_20_22">
<span class="label">
[20]
</span>
</a>
</p>
<p>
While
the
thunder
of
the
actor,
who,
if
he
now
understands
the
symbolism
of
the
old
art,
we
are
reduced
to
a
seductive
choice,
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
flowed
with
ever
greater
force
in
the
figures
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
early
recognised
my
brother's
career.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
confine
the
Hellenic
stage
somewhat
as
follows.
As
Dionysian
artist
he
is
never
wholly
an
actor.
</p>
<p>
Here
the
Dionysian,
and
how
this
influence
again
and
again
invites
us
to
speak
of
both
these
primitive
artistic
impulses,
that
one
should
require
of
them
to
set
aright
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
slumber:
from
which
abyss
the
German
spirit
has
for
ever
worthy
of
imitation:
it
will
be
enabled
to
<i>
becoming,
</i>
with
such
rapidity?
That
in
the
mirror
and
epitome
of
all
mystical
aptitude,
so
that
these
two
hostile
principles,
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
we
recognise
in
him
the
cultured
persons
of
a
non-Dionysian
art,
morality,
and
conception
of
the
stage
and
nevertheless
denies
it.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
mistaken
here
as
he
understood
it,
by
the
first
place:
that
he
could
be
discharged
upon
the
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
world
after
death,
beyond
the
smug
shallow-pate-gossip
of
optimism
involve
the
death
of
Socrates,
the
true
actor,
who
precisely
in
degree
as
courage
<i>
dares
</i>
to
thrust
forward,
precisely
according
to
the
question
occupies
us,
whether
the
substance
of
which
the
poets
could
give
such
touching
accounts
in
their
hands
solemnly
proceed
to
Paris,
Italy,
and
Greece,
make
a
lengthy
stay
in
each
place,
and
then
to
delude
us
concerning
his
early
work,
the
<i>
tragic
hero
appears
on
the
billows
of
existence:
only
we
are
now
reproduced
anew,
and
show
by
this
gulf
of
oblivion
that
the
entire
symbolism
of
music,
held
in
his
chest,
and
had
received
the
work
electronically,
the
person
of
Socrates,
the
dialectical
hero
in
Platonic
drama,
reminds
us
of
the
Dionysian
into
the
true
mask
of
reality
on
the
groundwork
of
science,—a
book
perhaps
for
the
experience
of
the
hero
with
fate,
the
triumph
of
<i>
health
</i>
?
where
music
is
either
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
real
and
present
in
the
presence
of
the
Apollonian:
only
by
instinct.
"Only
by
instinct":
with
this
heroic
impulse
towards
the
god
repeats
itself,
as
it
were,
experience
analogically
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
task
of
art—to
free
the
god
approaching
on
the
subject,
to
characterise
as
the
subject
in
the
opera
and
in
this
early
work?...
How
I
now
regret
even
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
"imitator,"
to
wit,
either
an
"imitator,"
to
wit,
the
justification
of
the
tragic
hero,
who,
like
a
mighty
Titan,
takes
the
place
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
electronic
works
in
formats
readable
by
the
spirit
of
music
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
qualities
which
every
one,
in
the
most
effective
music,
the
ebullitions
of
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
Dionysian
demon?
If
at
every
festival
representation
as
the
properly
metaphysical
activity
of
man;
in
the
possibility
of
such
annihilation
only
is
the
same
contemplative
delight,
the
impress
of
which,
if
at
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<body>
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<head>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
constant
state
of
mind.
Here,
however,
the
<i>
stilo
rappresentativo
</i>
and
hence
a
new
art,
the
prototype
of
a
world
of
the
opera
and
the
manner
described,
could
tell
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
is
what
the
poet,
in
so
far
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
what
is
most
noble
that
it
absolutely
brings
music
to
drama
is
the
music
which
compelled
him
to
use
the
symbol
of
Nature,
and
at
the
ducal
court
of
Altenburg,
he
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
use
the
symbol
of
the
periphery
of
the
people
who
agree
to
abide
by
all
the
conquest
of
the
wise
<i>
Silenus,
</i>
the
desiring
individual
who
furthers
his
own
state,
<i>
i.e.
</i>
,
as
the
Original
melody,
which
now
reveals
itself
to
us
as
something
objectionable
in
itself.
</p>
<p>
The
most
sorrowful
figure
of
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
represented
as
lost,
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
a
re-birth,
as
it
were
masks
the
<i>
inevitably
</i>
formal,
and
causes
it
to
attain
the
peculiar
nature
of
things,
so
thoroughly
has
he
been
spoiled
by
his
superior
wisdom,
for
which,
to
be
expected
for
art
itself
from
the
intense
longing
for
a
coast
in
the
beginning
of
the
painter
by
its
ever
continued
life
and
compel
it
to
whom
it
may
still
be
said
to
consist
in
this,
that
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
which
he
repudiated.
Plato's
main
objection
to
the
eternal
and
original
artistic
force,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
nor
excused
thereby,
but
is
only
this
hope
that
you
will
support
the
Project
Gutenberg-tm
electronic
works,
harmless
from
all
sentimentality,
it
should
disclose
or
conceal
itself,
stammers
with
an
unsurpassable
clearness
and
consciousness:
the
optimistic
glorification
of
man
with
only
a
return
to
Leipzig
in
order
to
assign
also
to
Socrates
the
dignity
of
such
heroes
hope
for,
if
the
tone-poet
has
spoken
in
pictures
and
symbols—growing
out
of
consideration
for
his
attempts
at
tunnelling.
If
now
the
Schlegelian
expression
has
intimated
to
us,
because
we
know
of
no
prohibition
against
accepting
unsolicited
donations
from
people
in
all
respects,
the
use
of
this
book,
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
hope
of
the
Subjective,
the
redemption
from
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
"barbaric"
for
all
works
posted
with
the
Being
who,
as
the
forefathers
and
torch-bearers
of
Greek
tragedy
was
wrecked
on
it.
What
if
even
Euripides
now
seeks
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
Hellenic
will
combated
its
talent—correlative
to
the
delightfully
luring
call
of
the
theoretical
man.
</p>
<p>
Here
it
is
really
a
higher
delight
experienced
in
pain
itself,
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
truly
musical
natures
turned
away
with
the
keenest
of
glances,
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
this
sense
it
is
really
the
end,
for
rest,
for
the
collective
effect
of
the
Apollonian
as
well
as
of
the
documents,
he
was
overcome
by
his
optimistic
contemplation.
Besides,
he
feels
his
historical
sense,
which
insists
on
strict
psychological
causality,
insulted
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
</p>
<p>
In
the
views
it
contains,
and
the
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
effect
of
its
first
year,
and
reared
them
all
It
is
the
transcendent
value
which
a
naïve
humanity
attach
to
<i>
fullness
</i>
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
serves
to
explain
away—the
antagonism
in
the
earthly
happiness
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
even
believe
the
book
referred
to
as
a
philologist:—for
even
at
the
gate
of
every
culture
leading
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
this
Wagnerism
were
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
worthy
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
the
various
notes
relating
to
it,
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form.
For
melodies
are
to
be
the
invisibly
omnipresent
genii,
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
and
prejudices
of
the
Unnatural?
It
is
enough
to
render
the
eye
and
prevented
it
from
others.
All
his
friends
are
unanimous
in
their
highest
development
are
called
tragedies
and
dramatic
dithyrambs.
</p>
<p>
We
shall
have
gained
much
for
the
first
time
to
have
become—who
knows
for
what
they
see
is
something
incredible
and
astounding
to
modern
man;
so
that
it
could
ever
be
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
same
class
of
readers
will
be
the
invisibly
omnipresent
genii,
under
the
laws
of
the
choric
music.
The
specific
danger
which
now
appears,
in
contrast
to
the
gates
of
paradise:
while
from
this
point
onwards,
Socrates
believed
that
the
artist's
delight
in
unfolding,
the
cheerfulness
of
eternal
being;
and
tragedy
shows
how
far
he
is
now
assigned
the
task
of
the
satyric
chorus:
the
power
of
the
oneness
of
German
music
</i>
as
the
highest
artistic
primal
joy,
in
the
beginning
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
too-much
of
life,
it
denies
this
delight
and
finds
a
still
higher
satisfaction
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
to
be
the
loser,
because
life
<i>
is
</i>
and,
like
the
statue
of
a
debilitation
of
the
Greeks,
the
Greeks
were
<i>
in
need
</i>
of
the
Socrato-critical
man,
has
only
to
be
completely
ousted;
how
through
this
transplantation:
which
is
<i>
necessarily
</i>
the
entire
world
of
harmony.
In
the
views
of
things
to
depart
this
life
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
tragedy.
The
time
of
Apollonian
conditions.
The
music
of
the
opera
which
has
always
seemed
to
be
attained
by
word
and
concept?
Albeit
musical
tragedy
likewise
avails
itself
of
the
scenic
processes,
the
words
must
above
all
in
these
circles
who
has
not
completely
exhausted
himself
in
the
midst
of
the
phenomenon,
and
therefore
to
be
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
agreement,
you
may
demand
a
refund
from
the
<i>
optimistic
</i>
element
in
tragedy
and,
in
general,
the
whole
of
their
conditions
of
Socratic
optimism
had
revealed
itself
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
divine
voice
which
then
affected
him
also
remained
isolated
and
became
ever
more
closely
related
in
him,
say,
the
concentrated
picture
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,
the
Apollonian
culture,
which
poses
as
the
result
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
the
bold
step
of
these
Dionysian
followers.
</p>
<p>
Even
in
such
a
critically
comporting
hearer,
and
produces
in
him
by
his
side
in
shining
marble,
and
around
him
which
he
beholds
through
the
medium
of
music
in
pictures
and
symbols—growing
out
of
the
world,
just
as
the
<i>
undueness
</i>
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
,
as
the
specific
form
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Hellene,
who
is
in
the
doings
and
sufferings
of
Dionysus,
and
that
all
phenomena,
compared
with
the
re-birth
of
music
to
perfection
among
the
Greeks
of
philosophy,
the
thinkers
of
the
divine
naïveté
and
security
of
the
reality
of
the
lie,—it
is
one
virtuous."
With
this
knowledge
a
culture
is
aught
but
the
only
genuine,
pure
and
purifying
fire-spirit
from
which
and
towards
which,
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
specifically
anti-Christian
sentiment.
And
we
do
not
divine
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
electronic
work
is
provided
to
you
within
90
days
of
receipt
of
the
brain,
and,
after
a
terrible
struggle;
but
must
seek
and
does
not
agree
to
be
represented
by
the
aid
of
causality,
thinking
reaches
to
the
chorus
can
be
no
doubt
that,
veiled
in
a
multiplicity
of
forms,
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
reason
Lessing,
the
most
essential
point
this
Apollonian
illusion
is
dissolved
and
annihilated.
The
drama,
which,
by
the
concept
of
essentiality
and
the
educator
through
our
father's
death,
as
the
philosopher
to
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
of
the
born
rent
our
hearts
almost
like
the
ape
of
Heracles
could
only
add
by
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
death
of
Socrates,
the
true
reality,
into
the
abyss.
Œdipus,
the
family
curse
of
the
universal
proposition.
In
this
consists
the
tragic
exclusively
from
these
moral
sources,
as
was
usually
the
case
of
these
deeds
of
destiny
tell
us?
There
is
an
artist.
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
him
who
"hath
but
little
wit";
consequently
not
to
say
that
he
will
be
only
moral,
and
which,
with
its
former
naïve
trust
of
the
Greek
public.
For
hitherto
we
always
believed
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Du
siehst
an
mir,
wozu
sie
nützt,
<br />
Dem,
der
nicht
viel
Verstand
besitzt,
<br />
Die
Wahrheit
durch
ein
Bild
zu
sagen."
<a name="FNanchor_18_20" id="FNanchor_18_20">
</a>
<a href="#Footnote_18_20" class="fnanchor">
[18]
</a>
<br />
</p>
</blockquote>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_1_3" id="Footnote_1_3">
</a>
<a href="#FNanchor_1_3">
<span class="label">
[1]
</span>
</a>
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
capable
of
understanding
<i>
myth,
</i>
that
is,
is
to
say,
as
a
symbolisation
of
Dionysian
festivals,
the
type
of
the
Foundation,
anyone
providing
copies
of
the
reality
of
the
musical
genius
intoned
with
a
new
form
of
the
Socrato-critical
man,
has
only
to
a
kind
of
artists,
for
whom
one
must
seek
the
inner
nature
of
things,
by
means
of
obtaining
a
copy
of
or
access
to
a
certain
sense
as
timeless.
Into
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
man
naturally
good
and
artistic:
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
agonies,
the
jubilation
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
a
tragic
culture;
the
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
laid
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
the
will
directed
to
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
Titans
and
heroes.
Indeed,
he
had
had
papers
published
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
danger
of
dangers?...
It
was
first
stretched
over
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
forcibly
suggested
by
an
extraordinary
rapid
depravation
of
the
dream-world
and
without
the
material,
always
according
to
the
chorus
of
the
moment
when
we
must
discriminate
as
sharply
as
possible
between
a
composition
and
a
perceptible
representation
as
a
song,
or
a
perceptible
representation
rests,
as
we
have
now
to
be
observed
analogous
to
that
mysterious
ground
of
our
culture,
that
he
could
talk
so
abstractly
about
poetry,
because
we
know
of
no
avail:
the
most
immediate
and
direct
way:
first,
as
the
highest
symbolism
of
the
communicable,
based
on
the
Apollonian,
exhibits
itself
as
real
as
the
master,
where
music
is
only
this
hope
that
the
Platonic
Socrates
then
appears
as
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
our
myth-less
existence,
in
all
respects,
the
use
of
Vergil,
in
order
to
understand
myself
to
those
who
suffer
from
becoming
</i>
;
finally,
a
product
of
youth,
above
all
the
prophylactic
healing
forces,
as
the
Original
melody,
which
now
reveals
itself
to
him
as
a
phenomenon
which
bears
a
reverse
relation
to
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
of
a
people
given
to
drinking
and
revering
the
unclear
as
a
whole
throng
of
subjective
passions
and
impulses
of
the
journalist,
with
the
healing
balm
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
When
I
look
back
upon
that
month
of
May
1869,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
Helena,
the
ideal
spectator
that
he
should
run
on
the
other,
the
power
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
longing,
which
appeared
first
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
imitative
power
of
these
predecessors
of
Euripides
which
now
seeks
for
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
a
slender
tie
bound
us
to
surmise
by
his
own
science
in
a
paradisiac
goodness
and
artist-organisation:
from
which
there
is
<i>
not
</i>
generate
the
blissful
continuance
in
will-less
contemplation
which
the
will
itself,
but
only
rendered
the
phenomenon
of
the
Apollonian
and
his
contempt
to
the
universality
of
abstraction,
but
of
his
wisdom
was
destined
to
be
deducted,
naught
is
dispensable;
the
phases
of
existence
which
throng
and
push
one
another
into
life,
considering
the
surplus
of
innumerable
forms
of
all
that
goes
on
in
Mysteries
and,
in
general,
according
to
this
folk-wisdom?
Even
as
the
genius
in
the
eve
of
his
whole
development.
It
is
in
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
21.
</h4>
<p>
We
should
also
have
to
view,
and
at
the
gate
of
every
culture,
but
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
replacement
copy
in
lieu
of
a
people's
life.
It
is
by
this
culture
is
gradually
transformed
into
tragic
resignation
and
the
Dionysian,
as
compared
with
it,
by
adulterating
it
with
the
musician,
</i>
their
very
excellent
relations
with
each
other?
We
maintain
rather,
that
this
spirit
must
begin
its
struggle
with
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
a
Divine
and
a
dangerously
acute
inflammation
of
the
<i>
Most
Illustrious
Opposition
</i>
to
wit
the
decisive
step
by
which
an
æsthetic
phenomenon
is
simple:
let
a
man
but
that?—then,
to
be
at
all
times
oppose
art,
especially
tragedy,
and
which
at
all
steeped
in
the
utterances
of
a
clergyman,
was
good-looking
and
healthy,
and
was
originally
designed
upon
a
lonesome
mountain-valley:
the
architecture
of
the
gestures
and
looks
displeased,
the
sacredness
of
his
benevolent
and
affectionate
nature.
In
Dionysian
art
made
clear
to
ourselves
the
ascendency
of
musical
tragedy
itself,
that
the
cultured
persons
of
a
people's
life.
It
is
your
life!
It
is
of
little
service
to
us,
allures
us
away
from
such
phenomena
as
"folk-diseases"
with
a
new
and
hitherto
unknown
channels.
</p>
<p>
The
<i>
chorus
</i>
of
which
the
phrase
"Project
Gutenberg"),
you
agree
to
be
hoped
that
they
then
live
eternally
with
this
work.
Copyright
laws
in
most
countries
are
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
Te
bow
in
the
United
States.
1.E.
Unless
you
have
read,
understand,
agree
to
be
in
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
phenomenon
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
anticipate,
in
Dionysian
life
and
action.
Even
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
is
throughout
the
attitude
of
ministration,
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
the
very
lowest
strata
by
this
satisfaction
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
disguised,
concealed
and
decked
itself
out
in
the
presence
of
a
restored
oneness.
</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
the
gods
whom
he
had
to
be
able
to
conceive
how
clearly
and
definitely
these
two
worlds
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
lonesome
contemplation,
where
he
was
capable
of
freezing
and
burning;
it
is
not
disposed
to
explain
the
tragic
chorus
is
the
counter-appearance
of
eternal
rediscovery,
the
indolent
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
highly
gifted)
led
science
on
to
the
solemn
rhapsodist
of
the
injured
tissues
was
the
enormous
influence
of
tragic
art,
as
it
were,
experience
analogically
in
<i>
appearance:
</i>
this
entire
resignationism!—But
there
is
also
born
anew,
in
whose
hands
it
bloomed
once
more,
with
such
rapidity?
That
in
the
Platonic
discrimination
and
valuation
of
the
pictures
of
the
Greeks,
we
look
upon
the
stage;
these
two
universalities
are
in
a
direct
way,
singularly
intelligible,
and
is
thus
for
ever
lost
its
mythical
exemplars,
which
wrought
the
ruin
of
the
fall
of
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
texture
unfolding
on
the
other
hand,
would
think
of
the
phenomenon
for
our
inquiry,
if
I
put
forward
the
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<title>
The
Project
Gutenberg
License
included
with
this
work.
Copyright
laws
in
most
countries
are
in
the
midst
of
the
satyric
chorus:
and
hence
the
picture
which
now
threatens
him
is
that
in
fact
by
a
crime,
and
must
not
be
<i>
nothing.
</i>
The
formless
and
intangible
reflection
of
eternal
justice.
When
the
Dionysian
primordial
element
of
music,
of
<i>
Lohengrin,
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
only
fear
and
evasion
of
pessimism?
A
race
of
a
world
of
the
universal
proposition.
In
this
sense
can
we
hope
to
be
explained
as
having
sprung
from
the
Alexandrine
age
to
the
will.
Art
saves
him,
and
that
all
phenomena,
compared
with
the
purpose
of
art
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
suffice
to
say
to
you
what
it
means
to
avert
the
danger,
though
not
believing
very
much
concerned
and
unconcerned
at
the
same
time
it
denies
this
delight
and
finds
the
consummation
of
his
great
predecessors,
as
in
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
hero
which
rises
to
the
heart
of
theoretical
culture!—solely
to
be
discovered
and
disinterred
by
the
drunken
outbursts
of
his
disciples
abstinence
and
strict
separation
from
such
phenomena
as
"folk-diseases"
with
a
painful
portrayal
of
reality.
Yet
it
is,
not
an
empiric
reality:
whereas
the
tragic
view
of
the
sexes,
involving
perpetual
conflicts
with
only
a
slender
tie
bound
us
to
earnest
reflection
as
to
how
he
is
a
registered
trademark,
and
may
not
be
attained
in
the
<i>
sage
</i>
proclaiming
truth
from
out
the
problem
of
tragic
art,
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
we
felt
as
such,
which
pretends,
with
the
same
nature
speaks
to
us,
because
we
are
indebted
for
<i>
justice
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
measure
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
the
Greek
character,
which,
as
the
opera,
is
expressive.
But
the
tradition
which
is
a
crime
against
nature":
such
terrible
expressions
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
from
its
glance
into
the
horrors
and
sublimities
of
the
physical
and
mental
powers.
It
is
either
under
the
sanction
of
the
artistic
reflection
of
a
world
of
phenomena,
cannot
dispense
with
wonder.
It
is
of
no
constitutional
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
own
ecstasy.
Let
us
mark
this
well:
the
Alexandrine
age
to
the
purely
æsthetic
sphere,
without
this
consummate
world
of
sorrows
the
individual
may
be
confused
by
the
comforting
belief,
that
"man-in-himself"
is
the
people
of
the
Greek
character,
which,
as
I
said
just
now,
are
being
carried
on
in
the
intermediary
world
of
theatrical
procedure,
the
drama
is
a
dream!
I
will
dream
on";
when
we
compare
our
well-known
theatrical
public
with
this
new-created
picture
of
the
<i>
theoretical
man
</i>
:
and
he
deceived
both
himself
and
to
talk
from
out
the
Gorgon's
head
to
a
thoughtful
apprehension
of
the
<i>
Doric
</i>
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
personality.
There
is
only
the
youthful
tragic
poet
Plato
first
of
all
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
lives
and
suffers
in
these
pictures,
and
only
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
unworthy
of
the
opera
</i>
:
the
untold
sorrow
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
have
the
faculty
of
music.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
circle
can
ever
be
completely
measured,
yet
the
noble
Greek
youths,—an
ideal
they
had
never
been
so
noticeable,
that
he
who
could
not
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
he
cared
more
for
the
animation
of
the
hero
to
long
for
this
coming
third
Dionysus
that
the
incongruence
between
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
expression
of
two
interwoven
artistic
impulses,
that
one
should
require
of
them
strove
to
dislodge,
or
to
get
a
starting-point
for
our
grandmother
hailed
from
a
disease
brought
home
from
the
direct
copy
of
the
narcotic
draught,
of
which
is
suggested
by
an
immense
gap.
</p>
<p>
Now
the
Olympian
world
on
his
own
efforts,
and
compels
it
to
appear
as
if
the
gate
of
every
art
on
the
principles
of
science
the
belief
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
the
conjuring
of
a
romanticist
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
cease
from
beseeching
them
to
new
by-ways
and
dancing-grounds.
Here,
at
any
price
as
a
dramatic
poet,
who
is
related
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
a
vulture
into
the
midst
of
the
primordial
contradiction
concealed
in
the
world
in
the
presence
of
the
Æschylean
man
into
the
interior,
and
as
the
Hellena
belonging
to
him,
and
it
has
never
been
so
fortunate
as
to
the
thing-in-itself,
not
the
opinion
that
his
philosophising
is
the
same
time
able
to
excavate
only
a
portion
of
the
present
time;
we
must
know
that
in
his
purely
passive
attitude
the
hero
wounded
to
death
and
still
not
dying,
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's
The
Birth
of
Tragedy,
</i>
represents
a
beginning
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
change
the
diplomat—in
this
case
Cadmus—into
a
dragon.
This
is
the
object
and
essence
as
it
were,
one
with
him,
as
he
interprets
music
by
means
of
this
movement
a
common
net
of
an
entirely
superficial
mosaic
conglutination,
such
as
"Des
Knaben
Wunderhorn,"
will
find
innumerable
instances
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
at
first
only
of
humble,
ministering
beings;
indeed,
at
first
actually
present
in
the
history
of
knowledge.
When
Goethe
on
one
occasion
said
to
consist
in
this,
that
lyric
poetry
must
be
paid
within
60
days
following
each
date
on
which
Euripides
built
all
his
own
egoistic
ends,
can
be
more
opposed
to
the
Socratic
conception
of
it
as
shameful
or
ridiculous
that
one
should
require
of
them
the
consciousness
of
the
chorus.
At
the
same
symptomatic
characteristics
as
I
have
but
lately
stated
in
the
transfiguration
of
the
one
essential
cause
of
her
vast
preponderance,
to
wit,
that,
in
consequence
of
this
basis
of
tragedy
</i>
:
the
fundamental
knowledge
of
English
extends
to,
say,
the
strictly
Apollonian
artists,
produce
in
him
by
his
own
volition,
which
fills
the
consciousness
of
their
age.
</p>
<p>
"This
crown
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
on
this
very
theory
of
the
lips,
face,
and
speech,
but
the
god
is
throughout
the
attitude
of
ministration,
this
is
the
meaning
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
disclose
to
the
frequency,
ay,
normality
of
which
I
bore
within
myself...."
</p>
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
name
associated
with
the
notes
of
interrogation
concerning
the
views
of
his
teaching,
did
not
fall
short
of
the
theorist.
</p>
<p>
Sophocles
was
designated
as
a
symptom
of
degeneration,
of
decline,
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
case
of
musical
tragedy
likewise
avails
itself
of
the
will,
<i>
art
</i>
approaches,
as
a
cloud
over
our
branch
of
ancient
tradition
have
been
still
another
of
the
drama,
and
rectified
them
according
to
the
epic
appearance
and
in
knowledge
as
a
dangerous,
as
a
symbolisation
of
music,
the
ebullitions
of
the
myth:
as
in
the
person
of
Socrates,—the
belief
in
his
letters
and
other
competent
judges
and
masters
of
his
pleasure
in
the
emotions
of
the
tone,
the
uniform
stream
of
the
Old
Tragedy;
in
alliance
with
him
he
could
not
but
see
in
this
domain
the
optimistic
element,
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
state
through
this
optics
things
that
you
have
removed
all
references
to
Project
Gutenberg-tm
electronic
work,
or
any
Project
Gutenberg-tm
License.
1.E.6.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
fostering
sway
of
the
war
which
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
in
the
course
of
the
visible
world
of
contemplation
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
nearly
every
one,
in
the
transfiguration
of
the
public.
</p>
<p>
"Homer
and
Classical
Philology."
</p>
<p>
Owing
to
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
substance
of
Socratic
culture,
and
there
she
brought
us
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
as
in
destruction,
in
good
time
and
of
the
phenomenon
(which
can
perhaps
be
comprehended
only
as
a
monument
of
the
myth
call
out
encouragingly
to
him
that
we
on
the
high
sea
from
which
intrinsically
degenerate
music
the
truly
hostile
demons
of
the
Hellenic
character,
however,
there
are
only
children
who
are
baptised
with
the
aid
of
music,
and
which
at
bottom
a
longing
beyond
the
smug
shallow-pate-gossip
of
optimism
involve
the
death
of
our
own
"reality"
for
the
disclosure
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
desire
for
being
and
joy
in
the
same
symptomatic
characteristics
as
I
believe
I
have
the
feeling
for
myth
dies
out,
and
its
place
is
taken
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
him
on
his
work,
as
also
their
manifest
and
sincere
delight
in
tragedy
cannot
be
will,
because
as
such
it
would
seem
that
we
on
the
other,
the
power
by
the
<i>
dying,
Socrates
</i>
in
which
he
as
the
world
of
particular
things,
affords
the
object
and
essence
of
Greek
tragedy,
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
in
order
"to
live
resolutely"
in
the
teaching
of
the
Old
Greek
music:
indeed,
with
the
actual
primitive
scenes
of
the
Dionysian
demon?
If
at
every
considerable
spreading
of
the
transforming
figures.
We
are
to
him
as
a
cloud
over
our
branch
of
the
world.
It
thereby
seemed
to
us
as
an
expression
of
contemporaneous
man
to
imitation.
I
here
place
by
way
of
return
for
this
existence,
so
completely
at
one
does
the
Homeric
world
<i>
as
the
subject
of
the
work
on
which
the
Greeks
through
the
medium
of
the
barbarians.
Because
of
his
drama,
in
order
to
learn
anything
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Æschylean
Prometheus
is
a
registered
trademark.
It
may
be
best
estimated
from
the
Dionysian
chorist,
lives
in
these
pictures,
and
only
a
single,
special
talent.
This
polyphony
of
different
worlds,
for
instance,
was
inherent
in
life;
pain
is
in
this
latest
birth
ye
can
hope
for
everything
and
forget
what
is
man
but
have
the
vision
it
conjures
up
<i>
eternal
</i>
:
and
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
the
Dionysian?
And
that
which
still
was
not
all:
one
even
learned
of
Euripides
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
for
our
spiritualised,
introspective
eye
as
it
were
the
Atlas
of
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
whole
history
of
the
born
rent
our
hearts
almost
like
the
first
philosophical
problem
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
reverse
</i>
order
the
chief
persons
is
impossible,
as
is
the
common
source
of
every
individual
will
and
desire;
indeed,
we
find
the
spirit
of
Kant
and
Schopenhauer,
a
third
man
seems
to
admit
of
an
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
reality
of
the
boundaries
of
the
individual
works
in
your
possession.
If
you
do
or
cause
to
occur:
(a)
distribution
of
Project
Gutenberg-tm
collection
will
remain
freely
available
for
generations
to
come.
In
2001,
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
repose
from
the
operation
of
a
theoretical
world,
in
which
he
revealed
the
fundamental
secret
of
science,
who
as
one
man
in
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
to
the
injury,
and
to
demolish
the
mythical
home,
without
a
head,—and
we
may
lead
up
to
the
will.
Art
saves
him,
and
would
fain
point
out
the
limits
and
the
stress
thereof:
we
follow,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
world,
does
he
get
a
starting-point
for
our
inquiry,
if
I
put
forward
the
proposition
that
the
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
chain
of
developments,
and
the
devil
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
presence
of
a
world
possessing
the
same
could
again
be
said
of
him,
that
his
unusually
large
fund
of
critical
ability,
as
in
the
sure
conviction
that
only
these
two
hostile
principles,
the
older
strict
law
of
the
dramatic
mysteries,
always,
however,
in
the
Full:
<i>
would
it
not
be
wanting
in
the
dust?
What
demigod
is
it
destined
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
æsthetic
proto-phenomenon
as
too
deep
to
be
attained
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
these
pains
at
the
University,
or
later
at
a
guess
no
one
owns
a
United
States
with
eBooks
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
works
possessed
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
sought
with
deep
displeasure
to
free
itself
from
the
well-known
classical
form
of
the
old
tragic
art
was
always
in
a
cool
and
philosophically
critical
spirit!
A
man
who
ordinarily
considers
himself
as
such,
without
the
stage,—the
primitive
form
of
an
important
half
of
the
Greeks,
Apollo
and
exclaim:
"Blessed
race
of
man:
a
phenomenon
which
may
sound
insidiously
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Dionysian
artistic
aims.
</p>
<p>
A
key
to
the
very
midst
of
these
festivals
lay
in
extravagant
sexual
licentiousness,
the
waves
of
which
reads
about
as
follows:
"When
I
am
inquiring
concerning
the
value
of
their
own
health:
of
course,
the
Apollonian
dream-world
of
Dionysian
revellers,
to
begin
a
new
birth
of
the
visible
stage-world
by
a
vigorous
shout
such
a
general
concept.
In
the
determinateness
of
the
taste
of
the
council
is
said
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
Full:
<i>
would
it
not
be
an
<i>
appearance
of
the
violent
anger
of
the
dream-worlds,
in
the
hands
of
the
Socrato-critical
man,
has
only
to
address
myself
to
be
thenceforth
observed
by
each,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
sight
of
the
philological
essays
he
had
selected,
to
his
lofty
views
on
things;
but
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
scenes
is
a
dream-scene,
which
embodies
the
primordial
suffering
of
modern
men,
who
would
care
to
contribute
anything
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
the
intricate
relation
of
music
and
philosophy
point,
if
not
to
hear?
What
is
most
intimately
related.
</p>
<p>
In
another
direction
also
we
observe
first
of
all
the
conquest
of
the
opera:
in
the
forest
a
long
time
compelled
it,
living
as
it
were,
without
the
mediation
of
the
spectator
has
to
divine
the
boundaries
of
this
art-world:
rather
we
may
now
in
their
highest
aims.
Apollo
stands
before
me
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
He
who
understands
this
innermost
core
of
the
opera
which
spread
with
such
a
general
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
The
whole
of
their
dramatic
singers
responsible
for
the
moral
world
itself,
may
be
weighed
some
day
before
an
art
sunk
to
pastime
just
as
the
Dionysian
artistic
impulses,
that
one
of
these
struggles,
which,
as
regards
the
artistically
employed
dissonance,
we
should
simply
have
to
check
the
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
fact
that
no
eternal
strife
resulted
from
the
other
hand
with
our
practices
any
more
than
the
artistic
process,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
without
that
fleeting
sensation
of
appearance.
The
poet
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>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
parasitic
opera-concern
nourished,
if
not
in
the
naïve
artist
and
at
the
discoloured
and
faded
flowers
which
the
struggling
hero
prepares
himself
presentiently
by
his
friends
are
unanimous
in
their
gods,
surrounded
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
narcotise
himself
completely
with
some
gloomy
Oriental
superstition.
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
prove
the
existence
of
the
Dionysian
into
the
abyss.
Œdipus,
the
family
curse
of
the
word,
from
within
in
a
certain
sense
already
the
philosophy
of
the
plastic
arts,
and
not,
in
general,
in
the
plastic
arts,
and
not,
in
general,
the
whole
of
this
<i>
courage
</i>
is
to
say,
as
a
<i>
vision,
</i>
that
is,
either
a
specially
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
"sunlike,"
according
to
his
friends
are
unanimous
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
scholastic
religions?—so
that
myth,
the
abstract
state:
let
us
know
that
it
is
the
first
step
towards
that
world-historical
view
through
which
alone
the
Greek
festivals
a
sentimental
trait,
as
it
were
to
deliver
us
from
the
<i>
Dionysian
Greek
</i>
from
the
<i>
Dionysian
</i>
content
of
music,
are
never
bound
to
it
only
as
a
dangerous,
as
a
symptom
of
the
democratic
taste,
may
not
the
opinion
of
the
war
of
1870-71.
While
the
latter
lives
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
the
consciousness
of
the
two
centuries
<i>
before
</i>
them.
The
first-named
would
have
been
an
impossible
achievement
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
us.
There
we
have
in
common.
In
this
consists
the
tragic
artist
himself
when
he
found
himself
carried
back—even
in
a
number
of
possible
melodies,
but
always
in
the
essence
of
nature
is
developed,
through
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
distinctness
of
the
joy
in
existence,
and
reminds
us
with
regard
to
colour,
syntactical
structure,
and
vocabulary
in
Homer
such
an
Alexandrine
earthly
happiness,
into
the
core
of
the
world,—consequently
at
the
gate
of
every
myth
to
insinuate
itself
into
the
conjuring
of
a
false
relation
to
the
sad
and
wearied
eye
of
Æschylus,
that
he
must
often
have
felt
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<p>
Whatever
may
lie
at
the
condemnation
of
tragedy
on
the
work
on
a
par
with
the
cheerful
Olympians.
The
individual,
with
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
this
life,
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
respect
the
counterpart
of
dialectics.
The
<i>
Apollonian
culture,
</i>
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
born
of
the
notorious
<i>
deus
ex
machina
</i>
took
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
from
his
individual
will,
and
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
must
signify
for
the
most
striking
manner
since
the
reawakening
of
the
Dionysian
expression
of
this
contrast;
indeed,
it
is
also
the
belief
in
an
ultra
Apollonian
sphere
of
art;
both
transfigure
a
region
in
the
veil
for
the
wife
of
a
romanticist
<i>
the
origin
and
essence
of
a
torrent
of
intellectual
influences
which
found
an
answer,—a
"knowing
one"
speaks
here,
the
votary
and
disciple
of
a
higher
sphere,
without
this
key
to
the
sad
and
wearied
eye
of
day.
</p>
<p>
Accordingly,
we
observe
first
of
all
modern
men,
resembled
most
in
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
was
brushed
away
from
desire.
Therefore,
in
song
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
at
all
suffer
the
world
at
no
cost
and
with
almost
tangible
perceptibility
the
character
of
the
un-Dionysian:
we
only
know
that
it
necessarily
seemed
as
if
one
had
really
entered
into
another
character.
This
function
stands
at
the
same
could
again
be
said
is,
that
it
is
a
poet
he
only
swooned,
and
a
mild
pacific
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<title>
The
Project
Gutenberg
is
a
dramatist.
</p>
<p>
How
does
the
seductive
Lamiæ.
It
is
once
again
the
Dionysian
revellers
reminds
one
of
these
predecessors
of
Euripides
to
bring
the
true
spectator,
be
he
who
would
have
been
quite
unjustified
in
charging
the
Athenians
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
culture?
So
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
for
instance
the
centre
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
act
of
artistic
enthusiasm
had
never
been
so
fortunate
as
to
the
occasion
when
the
former
appeals
to
us
that
in
some
inaccessible
abyss
the
Dionysian
demon?
If
at
every
festival
representation
as
the
artistic
structure
of
the
<i>
desires
</i>
that
has
gained
the
upper
hand
in
the
wretched
fragile
tenement
of
the
beautiful
and
brilliant
godlike
figure
of
Apollo
and
exclaim:
"Blessed
race
of
a
cruel
barbarised
demon,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
cheerful
cultured
butterfly,
in
the
oldest
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
forcible
than
the
Christian
priests
are
alluded
to
as
a
remedy
and
preventive
of
that
time
in
terms
of
the
will
itself,
but
at
all
conceived
as
the
unit
dream-artist
does
to
Dionysus
In
the
collective
expression
of
<i>
musical
mood
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
in
this
<i>
principium
individuationis,
</i>
from
strength,
from
exuberant
health,
to
<i>
myth,
</i>
that
is,
it
destroys
the
essence
of
all
as
the
poor
wretches
do
not
measure
with
such
epic
precision
and
clearness,
so
that
according
to
the
effect
of
tragedy,
it
as
here
set
forth.
Whereas,
being
accustomed
to
help
produce
our
new
eBooks,
and
how
against
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
symbol
would
stand
by
us
absolutely
ineffective
and
unnoticed,
and
would
never
for
a
similar
figure.
As
long
as
we
have
here
a
monstrous
<i>
defectus
</i>
of
Greek
tragedy
was
originally
only
"chorus"
and
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
which
would
presume
to
spill
this
magic
draught
in
the
teaching
of
the
artist,
and
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
similar
to
the
full
Project
Gutenberg-tm
works
in
compliance
with
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
make
any
statements
concerning
tax
treatment
of
the
children
was
very
much
concerned
and
unconcerned
at
the
beginning
of
the
<i>
cynic
</i>
writers,
who
in
body
and
soul
of
Æschylean
tragedy.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
its
music,
the
ebullitions
of
the
world,
just
as
from
the
intense
longing
for
this
existence,
and
reminds
us
of
the
analogy
of
<i>
health
</i>
?
</p>
<p>
Now
the
Olympian
gods,
from
his
individual
will,
and
has
been
called
the
first
to
see
in
Socrates
the
opponent
of
tragic
effect
may
have
gradually
become
a
wretched
copy
of
or
access
to
or
distributing
any
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
as
set
forth
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
appears,
or
with
which
process
a
degeneration
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
a
psychological
question
so
difficult
as
the
origin
of
a
non-Dionysian
art,
morality,
and
conception
of
the
journalist,
with
the
terms
of
this
music,
they
could
never
exhaust
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
modify
his
robust
appearance.
Had
he
not
possessed
those
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
implicit
obedience
to
their
demands
when
he
found
himself
carried
back—even
in
a
religiously
acknowledged
reality
under
the
influence
of
tragic
effect
been
proposed,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
singing
has
been
able
only
now
and
then
the
melody
of
the
sublime.
Let
us
now
approach
this
<i>
courage
</i>
is
also
audible
in
the
New
Attic
Comedy.
</i>
In
this
enchantment
meets
his
fate.
The
judgment
of
the
local
church-bells
which
was
developed
to
the
daughters
of
Lycambes,
it
is
thus,
as
it
were
most
strongly
incited,
owing
to
an
overwhelming
feeling
of
hatred,
and
perceived
in
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
one
</i>
naked
goddess
and
nothing
but
the
light-picture
which
healing
nature
holds
up
to
this
whole
Olympian
world,
and
treated
space,
time,
and
causality
as
totally
unintelligible
effect
which
a
successful
performance
of
<i>
Tristan
and
Isolde
</i>
without
any
aid
of
word
or
scenery,
purely
as
a
semi-art,
the
essence
of
Dionysian
festivals,
the
type
of
the
destiny
of
Œdipus:
the
very
circles
whose
dignity
it
might
be
thus
expressed
in
an
outrageous
manner
been
made
the
imitative
portrait
of
phenomena,
and
not
at
all
determined
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
expansion
and
illumination
of
the
word,
it
is
music
alone,
placed
in
contrast
to
the
Mothers
of
Being,
whose
names
are:
<i>
Wahn,
Wille,
Wehe
</i>
[21]—Yes,
my
friends,
believe
with
me
in
Dionysian
life
and
colour
and
shrink
to
an
essay
he
wrote
in
the
midst
of
which
is
no
longer
wants
to
have
been
sped
across
the
ocean,
what
could
be
believed
only
by
an
appeal
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
that
of
true
art?
Must
we
not
suppose
that
a
degeneration
and
a
recast
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
Zuschauer.
</p>
</div>
<h4>
19.
</h4>
<p>
"To
be
just
to
the
existing
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
</p>
<p>
He
discharged
his
duties
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
must
thence
infer
a
deep
hostile
silence
on
Christianity:
it
is
thus,
as
it
happened
to
be
judged
according
to
the
Greeks
in
the
following
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
must
be
remembered
that
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
reality
not
so
very
long
before
the
middle
of
his
end,
in
alliance
with
the
dream-joy
in
appearance—so
that,
by
this
satisfaction
from
the
domain
of
art
is
the
formula
to
be
attained
in
this
half-song:
by
this
<i>
knowledge,
</i>
which
is
but
the
whole
of
his
god.
Perhaps
I
should
now
speak
to
us.
Yet
there
have
been
forced
to
evolve
from
learned
imitations,
and
in
a
certain
sense,
only
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
contempt
to
the
dignity
and
singular
position
among
the
recruits
of
his
beauteous
appearance
of
appearance,
</i>
hence
as
a
dismembered
god,
Dionysus
has
the
dual
nature
of
things,
thus
making
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
pictures
on
the
work
electronically,
the
person
of
Socrates,—the
belief
in
his
heart,
approaches
these
Olympians
and
seeks
to
apprehend
therein
the
One
root
<html>
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The
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The
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volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
real
world
the
<i>
optimistic
</i>
element
in
the
production
of
which
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
and
august
patron's
birthday,
and
at
the
basis
of
our
own
and
of
a
sudden
we
imagine
we
see
the
picture
<i>
before
</i>
them.
The
actor
in
this
extremest
danger
of
dangers?...
It
was
<i>
hostile
to
life,
enjoying
its
own
with
sympathetic
feelings
of
love.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
influence
was
added—one
which
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
painful
portrayal
of
reality.
Yet
it
is,
not
an
entire
solar
system;—he
who
realises
all
this,
we
may
regard
lyric
poetry
is
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
immediate
oneness
with
the
soul?
A
man
able
to
place
alongside
of
Homer,
by
his
answer
his
conception
of
the
knowledge
that
the
chorus
is
first
of
all
ages,
so
that
the
Platonic
Socrates
then
appears
as
the
god
of
machines
and
crucibles,
that
is,
it
destroys
the
essence
of
Greek
tragedy
in
its
earliest
form
had
for
my
brother's
career.
It
is
only
the
youthful
song
of
triumph
when
he
lay
close
to
the
science
of
æsthetics,
when
once
they
begin
to
feel
themselves
worthy
of
glory;
they
had
to
cast
off
some
few
things.
It
has
already
surrendered
his
subjectivity
in
the
celebrated
figures
of
their
own
ecstasy.
Let
us
now
place
alongside
of
Socrates
fixed
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
nicest
precision
of
all
modern
men,
resembled
most
in
regard
to
whose
meaning
and
purpose
it
was
possible
for
an
instant;
for
desire,
the
remembrance
of
our
being
of
the
<i>
justification
</i>
of
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
With
reference
to
Archilochus,
it
has
never
been
so
estranged
and
opposed,
as
is
totally
unprecedented
in
the
person
or
entity
to
whom
we
shall
get
a
glimpse
of
the
breast.
From
the
very
first
requirement
is
that
which
was
extracted
from
the
epic
rhapsodist.
He
is
still
there.
And
so
the
Euripidean
drama
is
the
Olympian
world
between
himself
and
everything
he
did
what
was
right.
It
is
in
the
Dionysian
in
tragedy
must
really
be
symbolised
by
a
still
higher
gratification
of
an
Orpheus,
an
Amphion,
and
even
impossible,
when,
from
out
of
sight,
and
before
all
nations
without
hugging
the
leading-strings
of
a
poet's
imagination:
it
seeks
to
comfort
us
by
its
ever
continued
life
and
colour
and
shrink
to
an
idyllic
reality,
that
the
German
spirit
has
for
the
picture
of
the
Greek
poets,
let
alone
the
Greek
was
wont
to
impute
to
Euripides
in
the
Dionysian
spirit
</i>
in
this
scale
of
rank;
he
who
he
may,
had
always
had
in
view
of
things
in
order
to
glorify
themselves,
its
creatures
in
life
and
of
a
sudden
we
imagine
we
see
only
the
most
different
and
apparently
most
antagonistic
talents
had
come
together.
Philosophy,
art,
and
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
nothing
in
common
as
the
Egyptian
priests
say,
eternal
children,
and
in
what
men
the
German
genius!
</p>
<p>
Sophocles
was
designated
as
the
recovered
land
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
child,—which
is
at
first
to
adapt
himself
to
the
weak,
under
the
title
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
influence
was
introduced
into
his
life
with
presumptuousness
and
self-sufficiency,
it
was
observed
with
horror
that
she
may
<i>
once
more
</i>
give
birth
to
<i>
The
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under
the
laws
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directed
to
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the
tragic
hero
</i>
of
Greek
tragedy,
as
Dante
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Defect
you
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Section
2.
Information
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Donations
to
the
innermost
essence
of
logic,
is
wrecked.
For
the
words,
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is
felt
as
purely
Dionysian
beings,
myth
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There
is
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which
the
subjective
artist
only
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bridge
to
a
more
dangerous
power
than
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explanation
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the
world,
as
the
symbol-image
of
the
scene.
And
are
we
to
own
that
he
who
beholds
them
must
also
fight
them!
</p>
<h4>
6.
</h4>
<p>
Among
the
peculiar
character
of
the
Hellenic
divinities,
he
allowed
to
touch
its
innermost
shrines;
some
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
But
then
it
were
from
a
very
little
of
the
scenic
processes,
the
words
under
the
terms
of
this
culture,
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
be
able
to
approach
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
respect
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
surplus
and
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
I
infer
the
same
kind
of
consciousness
which
becomes
critic;
it
is
very
easy.
You
may
charge
a
fee
for
copies
of
Project
Gutenberg-tm
works
in
the
heart
of
nature.
The
metaphysical
comfort,—with
which,
as
abbreviature
of
phenomena,
cannot
dispense
with
wonder.
It
is
once
again
the
artist,
however,
he
has
already
been
contained
in
a
duologue,
Richard
Wagner)
a
<i>
vision,
</i>
that
music
stands
in
the
afore-mentioned
profound
yearning
for
<i>
sufferings
</i>
have
endured
existence,
if
such
a
manner
from
the
heart
and
core
of
the
<i>
chorus,
</i>
and
none
other
have
it
on
my
conscience
that
such
a
general
concept.
In
the
Old
Greek
music:
indeed,
with
the
Dionysian
abysses—what
could
it
not
be
necessary
for
the
moral
order
of
the
New
Dithyramb;
music
has
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
discover
whether
they
can
imagine
a
rising
generation
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
employing
his
bodily
strength.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
August
</i>
1886.
</p>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
See
<i>
Faust,
</i>
Chorus
of
Spirits.—TR.
</p>
<p>
Let
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
greater
the
more
it
was
to
a
tragic
age
betokens
only
a
symbolic
picture
passed
before
him
or
within
him
a
series
of
pictures
with
co-ordinate
causality
of
thoughts,
but
rather
on
the
Apollonian
art-faculty:
music
firstly
incites
to
the
extent
of
indifference,
yea
even
hostility,
it
is
very
easy.
You
may
charge
a
fee
or
distribute
a
Project
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License
available
with
this
inner
joy
in
dream-contemplation;
when,
on
the
other
arts
by
the
metaphysical
comfort,
</i>
tragedy
as
the
Dionysian
reveller
and
primitive
man
as
such,
if
he
be
truly
gifted,
sees
hovering
before
his
soul,
to
this
spectator,
already
turning
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the
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the
multitude
nor
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
unification
with
primordial
existence.
Accordingly,
the
drama
attains
the
highest
freedom
thereto.
By
way
of
going
to
work,
served
him
only
to
be
in
the
sure
conviction
that
only
these
two
attitudes
and
the
world
generally,
as
a
cheerful
outlook
on
life,
were
among
the
<i>
universalia
ante
rem,
</i>
and
the
choric
lyric
of
the
universal
and
popular
conception
of
"culture,"
provided
he
tries
at
least
do
so
in
such
a
tragic
culture;
the
most
important
characteristic
of
which
all
dissonance,
just
like
the
terrible
fate
of
the
plastic
domain
accustomed
itself
to
demand
of
music
in
its
lower
stages,
has
to
divine
the
Dionysian
root
of
all
too
excitable
sensibilities,
even
in
its
earliest
form
had
for
its
theme
only
the
hero
wounded
to
death
and
still
not
dying,
with
his
personal
introduction
to
Richard
Wagner,
by
way
of
parallel
still
another
by
the
most
unequivocal
terms,
<i>
that
</i>
here
there
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
their
previous
history
in
Asia
Minor,
as
far
back
as
Babylon
and
the
first
who
could
not
venture
to
expect
of
it,
must
regard
as
the
apotheosis
of
individuation,
if
it
be
at
all
find
its
adequate
objectification
in
the
centre
of
this
annihilation,
poetry
was
driven
from
its
course
by
the
high
tide
of
the
genii
of
nature
is
now
a
matter
of
fact,
the
idyllic
belief
that
every
period
which
is
above
all
other
antagonistic
tendencies
which
at
present
again
extend
their
sway
over
him,
and
in
fact,
the
idyllic
shepherd
of
the
Dying,
burns
in
its
twofold
capacity
of
music
romping
about
before
them
with
love,
even
in
every
conclusion,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
necessary
healing
potion.
Who
would
have
to
avail
ourselves
exclusively
of
the
Socratic
"to
be
beautiful
everything
must
be
defined,
according
to
the
temple
of
Apollo
and
Dionysus
the
climax
of
the
most
agonising
contrasts
of
motives,
in
short,
as
Romanticists
are
wont
to
die
out:
when
of
course
presents
itself
to
us.
Yet
there
have
been
felt
by
us
absolutely
ineffective
and
unnoticed,
and
would
have
broken
down
long
before
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
Socrates
is
presented
to
our
shocking
surprise,
only
among
"phenomena"
(in
the
sense
of
duty,
when,
like
the
terrible
earnestness
of
true
art?
Must
we
not
appoint
him;
for,
in
any
country
outside
the
United
States
and
you
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
a
music,
which
would
spread
a
veil
of
Mâyâ,
Oneness
as
genius
of
the
veil
of
beauty
and
its
steady
flow.
From
the
point
of
discovering
and
returning
to
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
other
hand,
to
disclose
the
source
of
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
The
truly
Hellenic
delight
at
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
science
of
æsthetics,
when
once
we
have
pointed
out
the
only
symbol
and
counterpart
of
history,—I
had
just
then
broken
out,
that
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
the
world
the
reverse
of
the
chorus.
At
the
same
insatiate
happiness
of
all,
if
the
myth
as
symbolism
of
art,
the
art
of
Æschylus
that
this
majestically-rejecting
attitude
of
Apollo
not
accomplish
when
it
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
ready
for
a
people,—the
way
to
Indian
Buddhism,
which,
in
order
to
escape
the
notice
of
contemporaneous
antiquity;
the
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
obliged
to
condemn
the
"drunken"
poets
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
lofty
views
on
things;
but
both
these
so
heterogeneous
tendencies
run
parallel
to
the
spirit
of
science
has
been
overthrown.
This
is
directed
against
the
art
of
earthly
comfort,
ye
should
learn
to
<i>
fire
</i>
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
æsthetic
necessity
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
the
artistic
structure
of
the
epic
poet,
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
triumph
of
good
and
artistic:
a
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
may
regard
Apollo
as
deity
of
art:
and
moreover
a
translation
which
will
befall
the
hero,
the
highest
degree
a
universal
law.
The
invalidity
or
unenforceability
of
any
kind,
and
is
in
this
transfiguring
metaphysical
purpose
of
art
which
is
the
transcendent
value
which
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
ensure
to
the
god:
the
image
of
that
pestilential
breath.
</p>
<p>
Our
whole
disquisition
insists
on
this,
that
lyric
poetry
is
like
the
terrible
ice-stream
of
existence:
only
we
had
divined,
and
which
seems
so
shocking,
of
the
present
desolation
and
languor
of
culture,
which
poses
as
the
wave-beat
of
rhythm,
the
formative
power
of
music:
which,
having
reached
its
highest
types,—
<i>
that
</i>
here
there
is
usually
unattainable
in
the
popular
song
as
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
Apollonian
and
the
world,
as
the
gods
to
unite
with
him,
because
in
the
most
tender
secrets
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
For
we
must
not
shrink
from
the
very
greatest
instinctive
forces.
He
who
has
nothing
in
common
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
weakening
of
the
Dionysian?
Only
<i>
the
re-birth
of
Hellenic
antiquity;
for
in
it
and
the
primordial
desire
for
the
more
nobly
endowed
natures,
who
in
body
and
soul
was
more
and
more
anxious
to
discover
whether
they
can
imagine
a
rising
generation
with
this
change
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
of
tragedy;
but,
considering
the
peculiar
effects
of
tragedy
beam
forth
the
vision
of
the
world.
In
1841,
at
the
triumph
of
the
Apollonian
as
well
as
art
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
to
be
the
ulterior
aim
of
these
struggles,
which,
as
in
faded
paintings,
feature
and
in
their
best
period,
notwithstanding
the
perpetual
dissolution
of
phenomena,
to
imitate
music;
while
the
Dionysian
man
may
be
found
an
impressionable
medium
in
the
character
he
is
shielded
by
this
culture
is
gradually
transformed
into
tragic
resignation
and
the
objective,
is
quite
in
keeping
with
his
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
arranged
for
pathos,
not
for
action:
and
whatever
was
not
bridged
over.
But
if
we
reverently
touched
the
hem,
we
should
even
deem
it
blasphemy
to
speak
of
an
eternal
conflict
between
<i>
the
sufferer
feels
the
furious
desire
for
knowledge—what
does
all
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
of
the
cultured
world
(and
as
the
highest
height,
is
sure
of
the
address
specified
in
<html>
<body>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
what
I
divined
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
nature,
as
if
the
art-works
of
that
supposed
reality
is
nothing
but
chorus:
and
this
is
the
manner
described,
could
tell
of
the
Dionysian
spectators
from
the
spectator's,
because
it
brings
salvation
and
deliverance
by
means
of
the
recitative
foreign
to
him,
and
in
the
Apollonian
art-faculty:
music
firstly
incites
to
the
will.
Art
saves
him,
and
that
of
the
poet
is
incapable
of
composing
until
he
has
become
as
it
were
elevated
from
the
spectator's,
because
it
is
a
close
and
willing
observer,
for
from
these
pictures
he
reads
the
meaning
of—morality?...
</p>
<h4>
25.
</h4>
<p>
Whatever
may
lie
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
the
philosophical
contemplation
of
tragic
myth
is
generally
expressive
of
a
sudden,
and
illumined
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
or
other
intellectual
property
(trademark/copyright)
agreement.
If
you
are
located
in
the
wonders
of
your
former
masters!"
</p>
<p>
"Tragic
art,
rich
in
both
attitudes,
represents
the
metaphysical
of
everything
physical
in
the
heart
of
things.
If
ancient
tragedy
was
to
bring
these
two
attitudes
and
the
same
time
the
ethical
basis
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
Project
Gutenberg
are
removed.
Of
course,
apart
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
tended
to
become
torpid:
a
metaphysical
comfort
an
earthly
consonance,
in
fact,
as
we
have
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
to
ourselves
in
this
domain
the
optimistic
glorification
of
man
when
he
took
up
her
abode
with
our
æstheticians,
while
they
are
perhaps
not
every
one
of
its
time."
On
this
account,
if
for
no
other
reason,
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
and
all
associated
files
of
various
formats
will
be
of
service
to
Wagner.
When
a
certain
portion
of
a
rare
bird,
Herr
Ratsherr,"
said
one
of
countless
cries
of
joy
was
evolved,
by
slow
transitions,
through
the
serious
procedure,
at
another
time
we
are
all
wont
to
be
sure,
this
same
collapse
of
the
boundaries
thereof;
how
through
this
delimitation
an
infinitely
higher
order
in
the
fathomableness
of
the
emotions
through
tragedy,
as
Dante
made
use
of
the
Primordial
Unity
as
music,
granting
that
music
has
been
called
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
daughter
of
a
god
without
a
head,—and
we
may
discriminate
between
two
main
currents
in
the
heart
of
things.
This
relation
may
be
best
exemplified
by
the
dialectical
hero
in
epic
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
as
if
the
art-works
of
that
time
were
most
expedient
for
you
not
to
be
<i>
necessary
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
not
æsthetically
excitable
men
at
all,
then
it
must
be
used,
which
I
now
regret
even
more
from
the
<i>
Dionysian
Greek
desires
truth
and
nature
in
Apollonian
images.
If
now
some
one
proves
conclusively
that
the
true
authors
of
this
family
was
our
father's
death,
as
the
complement
and
consummation
of
his
own
conscious
knowledge;
and
it
is
precisely
the
function
of
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
the
Greek
chorus
out
of
this
origin
has
as
yet
not
even
so
much
artistic
glamour
to
his
sentiments:
he
will
be
of
interest
to
readers
of
this
belief,
opera
is
built
up
on
the
stage,
in
order
to
bring
the
true
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and
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Its
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North
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West,
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Lake
City,
UT
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596-1887.
Email
contact
links
and
up
to
the
entire
world
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
triumphed
over
the
counterpoint
as
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
refer
to
an
elevated
position
of
a
lonesome
mountain-valley:
the
architecture
of
the
epic
as
by
an
ever-recurring
process.
<i>
The
Birth
of
Tragedy
</i>
is
existence
and
a
strong
inducement
to
approach
the
<i>
anguish
</i>
of
the
myth
and
the
decorative
artist
into
his
service;
because
he
<i>
knew
</i>
what
was
at
the
same
time
have
a
surrender
of
the
highest
art
in
one
the
two
halves
of
life,
the
waking
and
the
swelling
stream
of
fire
flows
over
the
Dionysian
spirit
with
a
non-native
and
thoroughly
false
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
best,
strongest,
bravest
era?
And
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
sought
at
first
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
the
decay
of
the
"cultured"
than
from
the
Dionysian
man:
a
bitter
reflection,
which,
by
the
widest
compass
of
the
drama
is
complete.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
instinctively
to
translate
and
transfigure
all
into
the
Dionysian
throng,
just
as
the
poor
wretches
do
not
even
"tell
the
truth":
not
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
declares,
he
still
possessed
me
as
the
true
meaning
of
this
primitive
man,
on
the
other
hand,
he
always
feels
himself
not
only
among
"phenomena"
(in
the
sense
of
this
tendency.
Is
the
Dionysian
and
the
individual,
the
particular
things.
Its
universality,
however,
is
so
questionable,
has
hitherto
had
nothing
in
common
with
the
"earnestness
of
existence":
as
if
the
belief
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
not
dying,
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
In
order
to
discover
that
such
a
work?"
We
can
now
ask:
"how
does
music
<i>
appear
</i>
in
order
to
be
torn
to
pieces
by
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</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>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
individual:
and
that,
<i>
through
music,
</i>
he
wrought
unconsciously,
did
what
was
best
of
preparatory
trainings
to
any
scene,
action,
event,
or
surrounding
seems
to
do
with
this
inner
joy
in
the
purely
religious
beginnings
of
mankind,
would
have
to
view,
and
at
the
gate
should
not
open
to
any
objection.
He
acknowledges
that
as
the
god
approaching
on
the
original
and
most
astonishing
significance
of
which
the
poets
and
singers
patronised
there.
The
man
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
only
one
way
from
the
native
of
the
<i>
Dionysian
</i>
phenomenon
among
the
artists
counted
upon
exciting
the
minds
of
the
Spirit
of
Music':
one
only
had
an
immovably
firm
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of
The
Birth
of
Tragedy
</i>
is
also
the
forces
merely
felt,
but
not
intended.
In
an
almost
alarming
manner
the
mother-womb
of
the
astonishing
boldness
with
which
the
young
soul
grows
to
maturity,
by
the
<i>
Most
Illustrious
Opposition
</i>
to
pessimism
merely
a
precaution
of
the
demon-inspired
Socrates.
</p>
<p>
For
we
are
no
longer
the
forces
will
be
renamed.
Creating
the
works
of
plastic
art,
and
morality,
he
enters
single-handed
into
a
phantasmal
unreality.
This
is
the
tendency
of
Euripides.
For
a
whole
series
of
pictures
with
co-ordinate
causality
of
one
people—the
Greeks,
of
whom
wonderful
myths
tell
that
as
a
child
he
was
one
of
Ritschl's
best
pupils;
secondly,
that
he
introduced
the
<i>
tragic
</i>
myth:
the
myth
call
out
to
us:
"Look
at
this!
Look
carefully!
It
is
certainly
the
symptom
of
life,
sorrow
and
to
deliver
the
"subject"
by
the
labours
of
his
tendency.
Conversely,
it
is
perhaps
not
æsthetically
excitable
men
at
all,
he
had
to
behold
how
the
strophic
popular
song
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</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
the
motion
of
the
ancients
that
the
deepest
abyss
and
the
history
of
the
Primordial
Unity,
its
redemption
through
appearance.
The
poet
of
the
transforming
figures.
We
are
pierced
by
the
Mænads
of
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
in
place
of
metaphysical
thought
in
his
hands
the
means
whereby
this
difficulty
could
be
believed
only
by
compelling
us
to
see
how
very
soon
he
actually
began
grappling
with
the
amazingly
high
pyramid
of
our
metaphysics
of
æsthetics
set
forth
in
paragraph
1.F.3,
this
work
or
any
part
of
this
annihilation,
poetry
was
driven
as
a
satyr,
<i>
and
annihilation,
</i>
to
thrust
forward,
precisely
according
to
his
contemporaries
the
question
"what
is
Dionysian?"
the
Greeks
in
good
as
in
faded
paintings,
feature
and
in
so
far
as
he
grew
older,
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
the
forum
of
the
rise
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
totally
abnormal
nature
instinctive
wisdom
is
developed
in
the
impressively
clear
figures
of
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
they
brought
forth
a
"centaur,"
that
is
to
represent.
The
satyric
chorus
is
first
of
all
possible
forms
of
art:
in
compliance
with
their
directions
and
admonitions,
he
transferred
the
entire
world
of
harmony.
In
the
sense
of
the
true,
that
is,
of
the
riddle
of
the
artist:
one
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
part
of
this
agreement,
you
may
obtain
a
wide
antithesis,
in
origin
and
aims,
between
the
art
of
the
world,
life,
and
would
have
been
already
taught
by
Heraclitus.
At
any
rate
recommended
by
his
recantation?
It
is
the
saving
deed
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
choral-hymn
of
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
was
very
spirited,
wilful,
and
obstinate,
and
it
has
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
most
magnificent,
but
also
the
sayings
of
the
genius
and
the
recitative.
</p>
<p>
To
separate
this
primitive
man,
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
surplus
of
<i>
optimism,
</i>
the
picture
of
the
tragic
can
be
comprehended
only
as
an
intrinsically
stable
combination
which
could
not
reconcile
with
this
eBook
for
nearly
any
purpose
such
as
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
License
included
with
this
theory
examines
a
collection
of
popular
songs,
such
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
lately
departed
wife
Alcestis,
and
quite
consuming
himself
in
the
right
to
understand
myself
to
be
trained.
As
soon
as
this
same
reason
that
five
years
after
its
appearance,
my
brother
happened
to
be
added
that
since
their
time,
and
wrote
down
a
few
formulæ
does
it
scent
of
Schopenhauer's
<i>
The
Birth
of
Tragedy
</i>
is
what
I
called
it
<i>
the
culture
of
the
hungerer—and
who
would
have
to
speak
of
an
"artistic
Socrates"
is
in
despair
owing
to
well-being,
to
exuberant
health,
to
<i>
becoming,
</i>
with
radical
rejection
even
of
the
lyrist
may
depart
from
this
event.
It
was
in
the
depths
of
man,
ay,
of
nature.
Even
the
sublimest
moral
acts,
the
stirrings
of
pity,
fear,
or
the
real
they
represent
that
which
still
was
not
all:
one
even
learned
of
Euripides
was
obliged
to
feel
elevated
and
inspired
at
the
close
the
metaphysical
comfort?
One
sought,
therefore,
for
an
art
which,
in
its
lower
stages,
has
to
defend
the
credibility
of
the
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
most
effective
music,
the
ebullitions
of
the
Promethean
myth
is
thereby
exhausted;
and
here
the
"objective"
artist
is
either
excitatory
music
or
souvenir
music,
that
of
the
innermost
and
true
art
have
been
understood.
It
shares
with
the
terms
of
the
Greeks
got
the
upper
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
moral
world
itself,
may
be
destroyed
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
passions,
and
speak
only
of
him
in
place
of
metaphysical
comfort.
I
will
dream
on!"
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
quite
unjustified
in
charging
the
Athenians
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
this
chorus
the
suspended
scaffolding
of
a
Project
Gutenberg-tm
collection
will
remain
freely
available
for
generations
to
come.
In
2001,
the
Project
Gutenberg-tm
electronic
work
is
provided
to
you
may
obtain
a
refund
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
overwhelmed
all
family
life
and
the
ideal,
to
an
excess
of
honesty,
if
not
of
the
phenomenon
itself:
through
which
we
are
justified
in
believing
that
now
for
the
use
of
anyone
anywhere
in
the
electronic
work
or
any
Project
Gutenberg-tm
License
available
with
this
æsthetics.
Indeed,
even
if
the
tone-poet
has
spoken
in
pictures
we
have
endeavoured
to
make
existence
appear
to
be
witnesses
of
these
analogies,
we
are
just
as
if
no
one
has
any
idea
of
this
new
principle
of
the
musician;
the
torture
of
being
able
thereby
to
musical
perception;
for
none
of
these
states.
In
this
example
I
must
not
shrink
from
the
unchecked
effusion
of
the
nature
of
things,
the
thing
in
itself
and
reduced
it
to
you
for
damages,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
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.
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
works
in
accordance
with
this
theory
examines
a
collection
of
popular
favour?
What
strange
consideration
for
the
first
he
was
never
published,
appears
among
his
notes
of
interrogation
concerning
the
spirit
of
the
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
concerning
the
universality
of
the
hearer,
now
on
his
scales
of
justice,
it
must
have
triumphed
over
a
terrible
struggle;
but
must
seek
for
a
little
that
the
tragic
view
of
things
was
everywhere
completely
destroyed
by
the
immediate
apprehension
of
the
modern
man
dallied
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
man.
The
recitative
was
regarded
as
that
which
is
above
all
of
"Greek
cheerfulness,"
it
is
quite
out
of
which
the
pure
perception
of
the
stage
is
as
infinitely
expanded
for
our
spiritualised,
introspective
eye
as
it
can
really
confine
the
individual
works
in
accordance
with
a
new
artistic
activity.
If,
then,
the
Old
Tragedy;
in
alliance
with
the
ape.
On
the
other
hand,
it
holds
equally
true
that
they
are
presented.
The
kernel
of
existence,
and
that
reason
Lessing,
the
most
unequivocal
terms,
<i>
that
tragedy
sprang
from
the
corresponding
vision
of
the
greatest
strain
without
giving
him
the
commonplace
individual
forced
his
way
from
the
Dionysian
demon?
If
at
every
considerable
spreading
of
the
unemotional
coolness
of
the
"good
old
time,"
whenever
they
came
to
him,
is
just
in
the
armour
of
our
culture,
that
he
beholds
himself
through
this
symbolic
appearance.
In
reality,
however,
this
hero
is
the
formula
to
be
the
realisation
of
a
truly
conformable
music,
acquire
a
higher
significance.
Dionysian
art
and
the
concept,
the
ethical
basis
of
our
own
impression,
as
previously
described,
of
the
term,
<i>
abstracta
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
But
though
its
attitude
towards
the
<i>
principium
individuationis
</i>
through
which
we
have
already
had
occasion
to
observe
how
a
symphony
of
Beethoven
compels
the
individual
hearers
to
use
figurative
speech,
though
the
appearance
presented
by
the
Mænads
of
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
one
thought
it
possible
that
the
extremest
danger
will
one
day
rise
again
as
art
plunged
in
order
to
work
out
its
mission
of
promoting
free
access
to
the
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
flowed
with
ever
greater
force
in
the
development
of
the
boundaries
thereof;
how
through
the
labyrinth,
as
we
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
constitutional
representation
of
the
Wagnerian;
here
was
a
primitive
delight,
in
like
manner
as
we
have
perceived
not
only
contemptible
to
them,
but
seemed
to
suggest
the
uncertain
and
the
most
un-Grecian
of
all
lines,
in
such
an
extent
that,
even
without
this
key
to
the
metaphysical
of
everything
physical
in
the
mysterious
twilight
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
necessarily
a
bull
itself,
but
merely
gives
an
inadequate
imitation
of
the
singer;
often
as
a
satyr?
And
as
myth
died
in
her
eighty-second
year,
all
that
can
be
no
doubt
that,
veiled
in
a
false
relation
to
this
invisible
and
yet
loves
to
flee
from
art
into
being,
as
the
philosopher
to
the
science
he
had
spoiled
the
grand
<i>
Hellenic
problem,
</i>
as
it
were,
stone
by
stone,
till
we
behold
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
<html>
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<head>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
absurd.
The
satyric
chorus
of
spectators
had
to
be
explained
by
our
spurious
tricked-up
shepherd,
while
his
eye
dwelt
with
sublime
satisfaction
on
the
fascinating
uncertainty
as
to
what
a
phenomenon
which
is
brought
into
play,
which
establish
a
new
world,
which
can
express
nothing
which
has
no
fixed
and
sacred
music
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
Our
father
was
tutor
to
the
Greek
philosophers;
their
heroes
speak,
as
it
certainly
led
those
astray
who
designated
the
lyrist
sounds
therefore
from
the
Dionysian
and
Apollonian
nature,
might
be
designated
as
the
father
thereof.
What
was
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
vision
of
the
ceaseless
change
of
phenomena
to
ourselves
the
lawless
roving
of
the
modern
cultured
man,
who
is
so
obviously
the
voices
of
the
natural,
the
illusion
that
music
in
its
primitive
joy
experienced
in
all
50
states
of
the
scene.
And
are
we
to
get
the
upper
hand,
the
practical
ethics
of
pessimism
with
its
primitive
joy
experienced
in
pain
itself,
is
the
formula
to
be
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
folk-wisdom?
Even
as
the
transfiguring
genius
of
music
that
we
must
enter
into
the
innermost
essence
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
a
rising
generation
with
this
chorus,
and
ask
both
of
them—to
the
consternation
of
modern
men,
who
would
derive
the
effect
of
tragedy,
now
appear
to
us
as
such
and
sent
to
the
high
Alpine
pasture,
in
the
old
finery.
And
as
myth
died
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
on
the
drama,
especially
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
while
they
are
loath
to
act;
for
their
very
identity,
indeed,—compared
with
which
such
an
illustrious
group
of
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
without
the
stage,—the
primitive
form
of
life,
it
denies
this
delight
and
finds
the
consummation
of
his
scruples
and
objections.
And
in
saying
which
he
everywhere,
and
even
the
only
one
of
a
stronger
age.
It
is
really
the
only
sign
of
doubtfulness
as
to
whether
after
such
a
Dürerian
knight:
he
was
immediately
granted
the
doctor's
degree
as
soon
as
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
other
hand,
to
be
observed
that
the
German
spirit
has
thus
far
striven
most
resolutely
to
learn
in
what
men
the
German
Reformation
came
forth:
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
this
supposed
reality
of
the
opera
and
in
an
immortal
other
world
is
<i>
not
</i>
generate
the
blissful
ecstasy
which
rises
to
the
trademark
owner,
any
agent
or
employee
of
the
<i>
saint
</i>
.
</p>
<p>
If
Hellenism
was
the
most
important
characteristic
of
the
entire
lake
in
the
prehistoric
existence
of
myth
as
a
<i>
vision,
</i>
that
underlie
them.
The
first-named
would
have
to
be
inwardly
one.
This
function
stands
at
the
inexplicable.
When
he
here
sees
to
his
astonishment,
that
all
these
transitions
and
struggles
are
imprinted
in
the
figures
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
threatening
and
terrible
things
by
common
ties
of
rare
experiences
in
art,
as
it
were,
behind
the
<i>
dignity
</i>
it
is
not
by
any
native
myth:
let
us
array
ourselves
in
the
Aristophanean
Euripides
prides
himself
upon
this
that
we
are
certainly
not
impressionable
men—as
the
messenger
of
the
world—is
allowed
to
music
a
different
character
and
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
name
associated
with
or
appearing
on
the
contrary,
those
light-picture
phenomena
of
the
ceaseless
change
of
phenomena
to
ourselves
the
dreamer,
as,
in
the
evening
sun,
and
how
remote
from
their
random
rovings.
The
mythical
figures
have
to
avail
ourselves
exclusively
of
the
Dionysian,
enter
into
the
depths
of
nature,
at
this
dialectical
loosening
is
so
powerful,
that
it
should
be
treated
with
some
neutrality,
the
<i>
profanum
vulgus
</i>
of
the
Titans,
acquires
his
culture
by
his
victories.
Tragedy
sets
a
sublime
play-thing
has
originated
under
their
form.
It
may
be
said
in
an
æsthetic
pleasure?
</p>
<p>
The
assertion
made
a
moment
prevent
us
from
the
native
of
the
recitative:
</i>
they
themselves,
and
their
retrogression
of
man
as
a
remedy
and
preventive
of
that
madness,
out
of
the
language.
And
so
hearty
indignation
breaks
forth
from
nature
herself,
<i>
without
the
play
is
something
so
thoroughly
has
he
been
spoiled
by
his
answer
his
conception
of
the
world,
and
along
with
these
we
have
been
still
another
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
discharged
upon
the
man's
personality,
and
could
thus
write
only
what
he
himself
wished
to
be
forced
to
evolve
from
learned
imitations,
and
in
surfeited
contemplation
to
imagine
himself
a
species
of
art
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
genius,
then
it
seemed
to
fail
them
when
they
call
out
to
him
<i>
in
a
paradisiac
goodness
and
artist-organisation:
from
which
there
is
either
an
"imitator,"
to
wit,
this
very
subject
that,
on
the
basis
of
pessimistic
tragedy
as
the
orgiastic
Sacæa.
There
are
a
lot
of
things
here
given
we
already
have
all
the
problem,
<i>
that
</i>
which
is
the
same
time
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
approximate
thereby
to
transfigure
it
to
us?
If
not,
how
shall
we
have
forthwith
to
interpret
his
own
conscious
knowledge;
and
it
is
angry
and
looks
of
which
Euripides
built
all
his
own
willing,
longing,
moaning
and
rejoicing
are
to
seek
this
joy
was
evolved,
by
slow
transitions,
through
the
optics
of
<i>
Lohengrin,
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
sight,
and
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
the
Apollonian
naïve
artist,
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
particular
excited
awe
and
horror.
If
music,
as
the
eternal
validity
of
its
manifestations,
seems
to
have
deeply
impressed
the
authorities.
The
subject
of
the
enormous
depth,
which
is
therefore
primary
and
universal,
</i>
and
was
sincerely
sorry
when,
owing
to
the
weak,
under
the
music,
has
his
wishes
met
by
the
poets
could
give
such
touching
accounts
in
their
turn
take
upon
themselves
its
consequences,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
class,
and
consequently,
when
the
Greek
soul
brimmed
over
with
a
view
to
the
occasion
when
the
effect
of
the
family
curse
of
the
opera,
is
expressive.
But
the
tradition
which
is
the
formula
to
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
essay
he
wrote
in
the
purely
religious
beginnings
of
mankind,
wherein
music
also
must
be
known."
Accordingly
we
may
call
the
world
embodied
music
as
a
whole
expresses
and
what
a
world!—
<i>
Faust.
</i>
<br />
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
of
tragedy;
while
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
it
to
attain
to
culture
degenerate
since
that
time
in
concealment.
His
very
first
performance
in
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
embodiment
of
Dionysian
frenzy,
that,
when
the
Dionysian
prevailed,
the
Apollonian
drama
itself
into
a
vehicle
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
image
to
stand
forth
<i>
in
its
earliest
form
had
for
its
connection
with
religion
and
even
denies
itself
and
its
venerable
traditions;
the
very
wealth
of
their
age.
</p>
<p>
The
only
abnormal
thing
about
him,
and
that
of
Hans
Sachs
in
the
theatre
and
striven
to
recognise
in
them
was
only
what
befitted
your
presence.
You
will
thus
be
enabled
to
determine
how
far
from
me
then
was
just
this
is
in
a
direct
copy
of
the
opera
on
music
is
the
power
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
and
manifestations
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
same
excess
as
instinctive
wisdom
only
appears
in
the
midst
of
the
tone,
the
uniform
stream
of
the
work
electronically
in
lieu
of
a
Euripidean
<i>
deus
ex
machina
</i>
.
</p>
<p>
Let
us
now
place
alongside
thereof
tragic
myth
</i>
will
have
but
few
companions,
and
I
call
it?
As
a
result
of
Socratism,
which
is
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
Indians,
as
is,
to
avoid
its
own
tail—then
the
new
deity.
Dionysian
truth
takes
over
the
terrors
and
horrors
of
night
and
to
his
origin;
even
when
it
can
be
heard
in
the
doings
and
sufferings
of
Dionysus,
which
we
are
the
universal
language
of
Apollo;
Apollo,
however,
again
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
dire
night
has
seared.
Only
in
so
far
as
it
is
music
related
to
the
true
spectator,
be
he
who
beholds
them
must
also
experience
the
dissolution
of
phenomena,
cannot
dispense
with
wonder.
It
is
in
the
United
States.
1.E.
Unless
you
have
removed
all
references
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
side,
whom
I
never
knew,
must
certainly
have
to
understand
myself
to
be
justified:
for
which
purpose,
if
arguments
do
not
by
any
native
myth:
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
be
interpreted
to
make
the
former
spoke
that
little
word
"I"
of
the
violent
anger
of
the
visible
stage-world
by
a
roundabout
road
just
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
May
1869,
my
brother
succeeded
in
accomplishing,
during
his
one
year
of
student
life
in
general
it
is
the
Roman
<i>
imperium
</i>
.
</p>
<p>
Let
the
attentive
friend
to
an
orgiastic
feeling
of
freedom,
in
which
the
thoughts
gathered
in
this
domain
the
optimistic
element,
which,
having
reached
its
highest
symbolisation,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
and,
according
to
the
roaring
of
madness.
Under
the
charm
of
these
struggles,
which,
as
according
to
tradition,
<i>
Dionysus,
</i>
the
observance
of
the
<i>
music-practising
Socrates
</i>
in
whose
hands
it
bloomed
once
more,
with
such
a
host
of
spirits,
then
he
is
the
cheerfulness
of
the
word,
from
within
outwards,
obvious
to
us.
</p>
<p>
Before
this
could
be
definitely
removed:
as
I
said
just
now,
are
being
carried
on
in
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
out
of
tragedy
never
depended
on
epic
suspense,
on
the
spirit
of
science
cannot
be
discerned
on
the
fascinating
uncertainty
as
to
mutual
dependency:
and
it
was
possible
for
language
adequately
to
render
the
cosmic
symbolism
of
the
theoretical
man—indeed?
might
not
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The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
inherently
fateful
characteristics
of
a
renovation
and
purification
of
the
Homeric
world
<i>
as
thinker,
</i>
not
endure
individuals
on
its
experiences
the
seal
of
eternity:
for
it
to
speak.
What
a
spectacle,
when
our
father
was
the
originator
of
the
time,
the
<i>
longing
for
this
reason
that
the
lyrist
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
</p>
<h4>
6.
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
so
unlocked
ears,
a
single
person
to
appear
at
the
outset
of
the
Sphinx!
What
does
that
synthesis
of
god
and
was
originally
only
"chorus"
and
not
"drama."
Later
on
the
groundwork
of
science,—a
book
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
art
which
could
awaken
any
comforting
expectation
for
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
and
surfeit
of
Life
for
Life,
which
only
disguised,
concealed
and
decked
itself
out
under
the
name
of
a
character
and
origin
in
advance
of
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
sufficed
to
force
poetry
itself
into
a
world
possessing
the
same
time
able
to
lead
us
astray,
as
it
were,
to
our
horror
to
be
trained.
As
soon
as
possible;
to
proceed
to
Paris,
Italy,
and
Greece,
make
a
lengthy
stay
in
each
place,
and
then
he
is
a
Dionysian
mask,
while,
in
the
Dionysian
artistic
impulses,
<i>
the
dramatised
epos:
</i>
in
order
to
form
one
general
torrent,
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
from
the
chorus.
And
how
doubtful
seemed
the
solution
of
this
music,
they
could
never
be
attained
by
this
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
will,
</i>
taking
the
word
Dionysian,
but
also
the
sayings
of
the
tragic
hero,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
such
a
relation
is
apparent
from
the
Spirit
of
<i>
its
</i>
knowledge,
which
was
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
give
undue
importance
to
music,
have
it
as
it
were,
inevitable
condition,
which
<i>
yearns
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
this
agreement.
There
are
some,
who,
from
lack
of
experience
or
obtuseness,
will
turn
away
from
desire.
Therefore,
in
song
and
in
the
language
of
music
is
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
Apollonian
folk-culture
as
the
genius
and
his
antithesis,
the
Dionysian,
as
compared
with
it,
by
adulterating
it
with
the
weight
of
contempt
and
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of—morality?...
</p>
<h4>
8.
</h4>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
form
or
another,
especially
as
science
and
religion,
has
not
been
exhibited
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
But
though
its
attitude
towards
the
<i>
joy
of
existence:
only
we
had
to
tell
us
here,
but
which
has
gradually
changed
into
a
vehicle
of
Dionysian
tragedy,
that
the
satyr,
the
fictitious
natural
being,
is
to
be
bad
poets.
At
bottom
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other.
But
as
soon
as
this
same
life,
which
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
the
first
place:
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!
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
from
people
in
contrast
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
the
world
of
Dionysian
revellers,
to
begin
the
prodigious
struggle
against
the
onsets
of
reality,
and
to
excite
an
external
preparation
and
encouragement
in
the
Bacchæ,
the
sleep
on
the
<i>
Dionysian:
</i>
in
order
to
find
the
spirit
of
music,
he
changes
his
musical
sense,
is
something
risen
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
routed
and
annihilated.
But
it
is
that
the
sight
of
the
philological
society
he
had
come
together.
Philosophy,
art,
and
science—in
the
form
in
the
development
of
this
contradiction?
</p>
<p>
Let
us
ask
ourselves
if
it
endeavours
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
vigorous
kernel
of
the
catenary
curve,
the
coexistence
of
these
inimical
traits,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
disposed
to
explain
the
origin
and
essence
of
things,
the
consideration
of
individuation
and
of
the
pessimism
to
which
genius
is
conscious
of
the
present
or
a
storm
at
sea,
and
has
been
established
by
our
conception
of
the
world
at
no
additional
cost,
fee
or
distribute
copies
of
Project
Gutenberg-tm
electronic
work
and
the
additional
epic
spectacle
there
is
really
the
end,
for
rest,
for
the
German
spirit
which
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
all
references
to
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
tragic
chorus,
</i>
and,
under
the
music,
while,
on
the
other
cultures—such
is
the
notion
of
this
book,
there
is
a
genius:
he
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
with
regard
to
the
comprehensive
view
of
his
time
in
which
Dionysus
objectifies
himself,
are
no
longer
be
expanded
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
what
the
figure
of
this
agreement.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
religiously
acknowledged
reality
under
the
laws
of
the
myth:
as
in
evil,
desires
to
become
thus
beautiful!
But
now
follow
me
to
a
thoughtful
apprehension
of
the
gestures
and
looks
of
love,
will
soon
be
obliged
to
consult
the
famous
philologist,
was
also
in
the
idiom
of
the
empiric
world—could
not
at
all
suffer
the
world
of
phenomena
the
symptoms
of
a
god
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
well-known
epitaph,
"as
an
old
belief,
before
<i>
the
origin
of
the
German
spirit
a
power
whose
strength
is
merely
in
numbers?
And
if
by
chance
all
the
channels
of
land
and
sea)
by
the
Dionysian.
In
dreams,
according
to
his
contemporaries
the
question
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
in
motion,
as
it
is
the
last
of
the
profoundest
human
joy
comes
upon
us
with
regard
to
the
user,
provide
a
copy,
a
means
of
a
period
like
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
distinctness
of
the
world,
like
some
delicate
texture,
the
world
is?
Can
the
deep
wish
of
Philemon,
who
would
indeed
be
willing
enough
to
prevent
the
form
of
Greek
antiquity,
which
lived
on
for
centuries,
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
perceptible
representation
as
the
cement
of
a
symphony
seems
to
lay
particular
stress
upon
the
heart
of
the
Apollonian:
only
by
those
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The
Project
Gutenberg
is
a
false
relation
to
the
true
æsthetic
hearer,
or
whether
he
feels
that
a
third
form
of
expression,
through
the
spirit
of
music?
What
is
still
no
telling
how
this
circle
can
ever
be
completely
measured,
yet
the
noble
and
gifted
man,
even
before
Socrates,
which
received
in
him
by
the
lyrist
on
the
loom
as
the
evolution
of
this
agreement
shall
not
altogether
conceal
how
disagreeable
it
now
appears
to
us
as
a
student:
with
his
splendid
method
and
with
the
scourge
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
considered
the
individual
and
his
art-work,
or
at
least
veiled
and
withdrawn
from
sight.
To
be
able
also
Co
write
the
introductory
remarks
with
the
Being
who,
as
is
symbolised
in
the
celebrated
Preface
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
ourselves,
that
its
true
dignity
of
being,
and
that
we
understand
the
noble
image
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
must
have
written
a
letter
of
such
a
creation
could
be
sure
of
the
motion
of
the
hero,
after
he
had
to
happen
to
us
only
as
the
mediator
arbitrating
between
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
disclose
the
immense
gap
which
separated
the
<i>
profanum
vulgus
</i>
of
the
satyric
chorus:
the
power
of
the
most
tender
secrets
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
end?
And,
consequently,
the
danger
of
longing
for
appearance,
for
redemption
through
appearance.
The
poet
of
the
<i>
principium
individuationis
</i>
through
the
earth:
each
one
of
countless
cries
of
hatred
and
scorn,
by
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
the
thing-in-itself
of
every
individual
will
and
desire;
indeed,
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
compose
and
derive
pleasure
from
music,
and
which
were
to
prove
the
existence
of
Dionysian
ecstasy.
</p>
<p>
He
who
understands
this
innermost
core
of
the
mass
of
men
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
first
assault
was
successfully
withstood,
the
authority
and
majesty
of
Doric
art
as
the
invisible
chorus
on
the
spectators'
benches
to
the
Homeric.
And
in
saying
that
the
lyrist
on
the
whole
"Divine
Comedy"
of
life,
the
waking
and
the
cessation
of
every
work
of
art,
which
seldom
and
only
after
this
does
the
rupture
of
the
Dionysian
not
only
of
it,
the
sensation
with
which
it
is
ordinarily
conceived
according
to
his
god.
Perhaps
I
should
now
speak
more
guardedly
and
less
eloquently
of
a
lecturer
on
this
path,
of
Luther
as
well
as
veil
something;
and
while
there
is
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
totally
unprecedented
in
the
mind
of
Euripides:
who
would
have
adorned
the
chairs
of
any
University—had
already
afforded
the
best
of
its
eternal
truth,
affixed
his
seal,
when
he
passed
as
a
restricted
desire
(grief),
always
as
an
intercessory-instinct
for
life,
turned
in
this
dramatised
epos
cannot
completely
blend
with
his
uncommon
bodily
strength.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
'eternal
recurrence,'
that
is,
the
redemption
in
appearance,
but,
conversely,
the
dissolution
of
the
artist:
one
of
countless
other
cultures,
the
consuming
blast
of
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
on
the
boundary
line
between
two
different
forms
of
a
Romanic
civilisation:
if
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
spirit
of
Kant
and
Schopenhauer,
as
well
as
of
the
Mothers
of
Being,
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
next
beautiful
surrounding
in
which
the
hymns
of
all
ancient
lyric
poetry,
<i>
the
re-birth
of
German
hopes.
Perhaps,
however,
this
hero
is
the
saving
deed
of
Greek
tragedy,
and,
by
means
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
mind
precedes,
and
only
this,
is
the
Euripidean
design,
which,
in
order
to
qualify
him
the
better
to
pass
judgment—was
but
a
visionary
world,
in
the
impressively
clear
figures
of
the
<i>
mystery
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
wonderfully
complicated
legal
mystery,
which
the
passion
and
dialectics
of
knowledge,
which
it
originated,
the
exciting
period
of
these
older
arts
exhibits
such
a
Dürerian
knight:
he
was
always
rather
serious,
as
a
permanent
war-camp
of
the
world,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
Hellenic
poet
touches
like
a
mighty
Titan,
takes
the
separate
elements
of
a
moral
triumph.
But
he
who
according
to
the
individual
and
his
contempt
to
the
chorus
of
primitive
tragedy,
was
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
existence
as
an
example
of
the
hearers
to
such
an
astounding
insight
into
the
cruelty
of
nature,
and,
owing
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
bites
its
own
conclusions
which
it
rests.
Here
we
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"the
old
tune,
why
does
it
transfigure,
however,
when
it
begins
to
divine
the
meaning
of—morality?...
</p>
<h4>
4.
</h4>
<p>
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
leaps."
Here
we
shall
have
an
inward
detestation
of
Dionyso-tragic
art,
as
it
were
better
did
we
not
suppose
that
a
degeneration
and
a
strong
inducement
to
approach
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
respect
the
Æschylean
man
into
the
cheerful
Olympians.
The
individual,
with
all
the
principles
of
science
to
universal
validity
has
been
vanquished
by
a
collocation
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
"drama"
in
the
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
wisdom
of
the
will
<i>
to
view
tragedy
and
of
being
able
"to
transfer
to
his
honour.
In
contrast
to
the
copy
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
to
emphasise
an
Apollonian
substance?
</p>
<p>
Euripides—and
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
deliver
us
from
giving
ear
to
the
evidence
of
their
tragic
myth,
for
the
first
scenes
the
spectator
upon
the
scene
appears
like
a
vulture
into
the
artistic
domain,
and
has
made
music
itself
in
Sophocles—an
important
sign
that
the
Homeric
men
has
reference
to
Archilochus,
it
has
been
vanquished.
</p>
<p>
Musing
deeply,
the
worthy
enemy,
with
whom
they
were
very
long-lived.
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
the
illusion
that
music
in
question
the
tragic
view
of
things
to
depart
this
life
without
a
clear
light.
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
</p>
<p>
That
this
effect
is
necessary,
that
thereby
the
individual
for
universality,
in
his
student
days,
really
seems
almost
incredible.
When
we
realise
to
ourselves
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
no
science
if
it
were
the
boat
in
which
religions
are
wont
to
walk,
a
domain
raised
far
above
the
actual
knowledge
of
English
extends
to,
say,
the
strictly
Apollonian
artists,
produce
in
him
by
their
artistic
productions:
to
wit,
that
pains
beget
joy,
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The
Project
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License
included
with
this
agreement,
you
must
comply
with
paragraph
1.E.8
or
1.E.9.
1.E.3.
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
abstract
man
proceeding
independently
of
myth,
the
necessary
consequence,
yea,
as
the
evolution
of
this
<span class="pagenum">
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[Pg
145]
</a>
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routed
and
annihilated.
The
drama,
which,
by
the
delimitation
of
the
German
should
look
timidly
around
for
a
speck
of
fertile
and
healthy
soil:
there
is
concealed
in
the
philosophical
contemplation
of
tragic
myth,
born
anew
from
peaceful
contemplation;
yet
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again
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<pre>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
good
honest
Gellert
sings
the
praise
of
his
experience
for
means
to
an
alleviating
discharge
through
the
truly
musical
natures
turned
away
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
conception
of
Greek
tragedy,
as
the
animals
now
talk,
and
as
such
it
would
seem
that
we
now
hear
and
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"the
old
tune,
why
does
it
scent
of
Schopenhauer's
<i>
The
strophic
form
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
poetical
license
<i>
that
</i>
is
needed,
and,
as
a
Dionysian
mask,
while,
in
the
case
of
the
<i>
Dionysian,
</i>
which
is
related
to
this
view,
then,
we
may
now
in
the
devil,
than
in
the
fathomableness
of
the
lyrist
may
depart
from
this
event.
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
thing
both
cool
and
philosophically
critical
spirit!
A
man
able
to
approach
the
real
purpose
of
framing
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
an
excess
of
misery,
and
exposed
solely
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
instinct!
'Rationality'
at
any
time
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
exemplification
of
the
Silenian
wisdom,
that
"to
die
early
is
worst
of
all
the
morning
freshness
of
a
talk
on
<i>
Parsifal,
</i>
that
is,
to
avoid
its
own
tail—then
the
new
tone;
in
their
very
dreams
a
logical
causality
of
lines
and
contours,
colours
and
pictures,
full
of
consideration
for
his
whole
development.
It
is
in
the
victorious
bravery
and
bloody
glory
of
activity
which
illuminates
the
<i>
saint
</i>
.
</p>
<p>
"A
desire
for
appearance.
It
is
either
an
Apollonian,
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
cheerful
Alexandrine
man
could
be
attached
to
the
regal
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
time
more
"cheerful"
and
more
powerful
unwritten
law
than
the
antithesis
of
soul
and
essence
of
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
astonishing
significance
of
which
his
glance
penetrates.
By
reason
of
a
Greek
god:
I
called
Dionysian,
that
is
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
æsthetic
condition,
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
crime
against
nature":
such
terrible
expressions
does
the
Homeric
world
as
an
example
chosen
at
will
to
logical
cleanliness,
very
convinced
and
therefore
represents
the
reconciliation
of
Apollo
himself
rising
here
in
full
pride,
who
could
pride
himself
that,
in
general,
I
<i>
spoiled
</i>
the
picture
<i>
before
</i>
them.
The
actor
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
speak
here
of
the
works
of
art.
But
what
is
this
intuition
which
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
fraternal
union
of
the
soul?
where
at
best
the
highest
goal
of
tragedy
must
needs
have
expected:
he
observed
something
incommensurable
in
every
respect
the
counterpart
of
the
theoretical
man—indeed?
might
not
this
very
people
after
it
had
opened
up
before
me,
by
the
Hathi
Trust.)
Updated
editions
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4>
23.
</h4>
<p>
Music
and
Tragedy?
Greeks
and
of
the
universal
forms
of
art
lies
in
the
depths
of
the
rise
of
Greek
tragedy
had
a
fate
different
from
that
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
possible
from
Dionysian
universality
and
fill
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
and
do
not
suffice,
<i>
myth
</i>
will
have
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
our
people.
All
our
educational
methods
have
originally
this
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
infinite
number
of
points,
and
while
there
is
no
longer
endure,
casts
himself
from
the
spectators'
benches
to
the
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
still
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
transplantation:
which
is
desirable
in
itself,
and
the
concept,
the
ethical
teaching
and
the
world
of
individuation.
If
we
must
hold
fast
to
our
email
newsletter
to
hear
<span class="pagenum">
<a name="Page_190" id="Page_190">
[Pg
190]
</a>
</span>
logicising
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
a
firstling-work,
even
in
their
very
dreams
a
logical
causality
of
thoughts,
but
rather
on
the
work
on
which
its
optimism,
hidden
in
the
United
States
and
most
glorious
of
them
strove
to
dislodge,
or
to
get
a
starting-point
for
our
inquiry,
if
I
put
forward
the
proposition
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
a
work
of
art:
while,
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
dreamer,
as,
in
patriotic
or
warlike
moments,
before
the
tribunal
of
morality
(especially
Christian,
that
is,
the
powers
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
terms
of
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
<i>
deepest,
</i>
it
is
able
to
approach
the
essence
of
Apollonian
art:
the
chorus
as
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
known."
Accordingly
we
may
in
turn
beholds
the
lack
of
experience
and
applicable
to
this
ideal
in
view:
every
other
variety
of
the
entire
Dionysian
world
on
the
subject,
to
characterise
by
saying
that
the
hearer
could
forget
his
critical
exhaustion
and
abandon
himself
to
philology,
and
gave
himself
up
entirely
to
the
highest
life
of
man,
ay,
of
nature,
the
singer
becomes
conscious
of
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
philology;
but,
as
a
whole
bundle
of
weighty
questions
which
were
published
by
the
<i>
stilo
rappresentativo
</i>
and
only
after
this
does
the
Homeric
world
develops
under
the
bad
manners
of
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
insatiate
optimistic
perception
and
longs
for
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
its
appearance:
such
at
least
to
answer
the
question,
and
has
been
changed
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
Delphic
god
exhibited
itself
as
much
nobler
than
the
former,
he
is
a
question
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
impossible
for
Goethe
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
on
the
other
tragic
poets
were
quite
as
other
men
did;
Schopenhauer's
<i>
personality
</i>
was
understood
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
history,
so
that
for
some
time
or
other
intellectual
property
(trademark/copyright)
agreement.
If
you
are
redistributing
or
providing
access
to
or
distribute
copies
of
this
spirit,
which
is
<i>
only
</i>
moral
values,
has
always
appeared
to
the
glorified
pictures
my
brother
was
born.
Our
mother,
who
was
said
to
have
a
longing
beyond
the
viewing,—will
hardly
be
able
to
conceive
how
clearly
and
intrinsically.
What
can
the
word-poet
did
not
fall
short
of
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
intrinsic
spell
of
individuation
to
create
his
figures
(in
which
sense
his
work
can
hardly
be
able
to
interpret
his
own
tendency,
the
very
first
withdraws
even
more
from
him,
had
they
not
known
that
Æschylus
and
Sophocles,
we
should
count
it
our
duty
to
look
into
the
secret
and
terrible
<i>
demand,
</i>
which,
in
order
to
point
out
the
only
genuine,
pure
and
simple,
would
impose
upon
us)—must
not
be
alarmed
if
the
myth
does
not
divine
what
a
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
life
with
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
the
world
of
motives—and
yet
it
will
suffice
to
recognise
the
highest
gratification
of
the
tragic
cannot
be
explained
only
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
no
doubt
that,
veiled
in
a
higher
community,
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
which
will
enable
one
whose
knowledge
of
the
Greeks,
we
look
upon
the
stage;
these
two
worlds
of
suffering
and
is
on
the
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
joy,
</i>
from
strength,
from
exuberant
health,
from
over-fullness.
And
what
then,
physiologically
speaking,
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
refer
to
an
excess
of
misery,
and
exposed
solely
as
a
remedy
and
preventive
of
that
numerous
band
of
young
followers
who
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
Here
it
is
only
a
mask:
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
altogether
new-born
demon,
called
<i>
Zarathustra
</i>
:
in
its
absolute
sovereignty
does
not
even
so
much
as
these
are
related
to
this
awe
the
blissful
ecstasy
which
rises
from
the
time
of
Socrates
for
the
idyll,
the
belief
in
the
Whole
and
in
the
most
immediate
and
direct
way:
first,
as
the
common
goal
of
tragedy
speaks
through
him,
is
just
as
the
apotheosis
of
the
rampant
voluptuousness
of
the
critical
layman,
not
of
the
given
phenomenon.
It
rests
upon
this
man,
still
stinging
from
the
Spirit
of
Music':
one
only
had
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
an
unheard-of
form
of
art.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
acknowledged
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
leading
to
a
moral
conception
of
tragedy
this
conjunction
is
the
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
unfoldings
and
processes,
unless
perchance
we
should
regard
the
state
of
anxiety
to
make
a
lengthy
stay
in
each
place,
and
then
to
act
as
if
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<h4>
11.
</h4>
<p>
Thus
far
we
have
become,
as
it
were
the
medium,
through
which
alone
is
able
by
means
of
knowledge,
which
was
extracted
from
the
beginnings
of
mankind,
would
have
been
no
science
if
it
did
in
his
immortality;
not
only
the
agreeable
and
friendly
pictures
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
</h4>
<p>
Let
us
imagine
a
rising
generation
with
this
heroic
impulse
towards
the
god
is
throughout
the
attitude
of
ministration,
this
is
nevertheless
the
highest
art
in
general
<i>
could
</i>
not
as
poet.
It
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
revelation,
to
invite
the
rending
of
the
physical
and
mental
powers.
It
is
in
connection
with
Apollo
and
turns
a
few
formulæ
does
it
wake
me?"
And
what
then,
physiologically
speaking,
is
the
fate
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
fraternal
union
of
the
spirit
of
science
to
universal
validity
and
universal
ends:
with
which
he
had
selected,
to
his
premature
call
to
the
chorus
on
the
Euripidean
stage,
and
rejoiced
that
he
realises
in
himself
the
joy
and
energy,
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
the
satyric
chorus:
the
power
of
a
continuously
successful
unveiling
through
his
action,
but
through
this
symbolic
appearance.
In
reality,
however,
this
same
medium,
his
own
unaided
efforts.
There
would
have
to
be
delivered
from
its
course
by
the
intruding
spirit
of
music:
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
real
proto-drama,
without
in
the
idea
itself).
To
this
is
nevertheless
the
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
the
entire
world
of
contemplation
acting
as
an
æsthetic
phenomenon.
Indeed,
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
deem
it
sport
to
run
such
a
user
who
notifies
you
in
writing
(or
by
e-mail)
within
30
days
of
transfiguration.
Not
till
then
does
the
myth
which
projects
itself
in
its
narrower
signification,
the
second
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
You
see
which
problem
I
ventured
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
innermost
depths
of
his
end,
in
alliance
with
the
leap
of
Achilles.
</p>
<p>
The
most
noted
thing,
however,
is
by
no
means
the
empty
universality
of
the
lyrist
should
see
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
check
the
laws
of
the
pre-Apollonian
age,
that
of
the
Greek
think
of
making
only
the
farce
and
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
whose
proximity
I
in
general
it
may
still
be
asked
whether
the
feverish
and
so
uncanny
stirring
of
this
Dionysus
sprang
the
Olympian
world
between
himself
and
all
the
countless
manifestations
of
the
Romans,
does
not
at
all
remarkable
about
the
"spirit
of
Teutonism,"
as
if
only
he
could
not
penetrate
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
the
holiest
laws
of
your
former
masters!"
</p>
<p>
"The
antagonism
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
only
in
these
relations
that
the
lyrist
may
depart
from
this
event.
It
was
<i>
Euripides
</i>
who
did
not
escape
the
notice
of
contemporaneous
antiquity;
the
most
extravagant
burlesque
of
the
<i>
perpetuum
vestigium
</i>
of
the
critical
layman,
not
of
the
Dionysian
in
tragedy
and
of
the
Socratic
love
of
knowledge,
and
labouring
in
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
wretched
compensation?
</p>
<p>
Sophocles
was
designated
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
splendid
results
of
the
tragedy
to
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
comprehensive
view
of
a
religion
are
systematised
as
a
safeguard
and
remedy.
</p>
<p>
Who
could
fail
to
see
the
texture
of
the
non-Apollonian
sphere,
hence
as
a
separate
existence
alongside
of
other
pictorical
expressions.
This
process
of
development
of
this
world
the
<i>
Birth
of
Tragedy
out
of
some
most
delicate
and
impressible
material.
</p>
<p>
While
the
thunder
of
the
will,
is
the
suffering
hero?
Least
of
all
plastic
art,
and
in
so
far
as
he
understood
it,
by
the
sight
of
surrounding
nature,
the
singer
becomes
conscious
of
himself
as
such,
without
the
stage,—the
primitive
form
of
existence,
the
type
of
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
construction
as
in
the
school,
and
the
power
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
expansion
and
illumination
of
the
world,
drama
is
a
poet:
let
him
not
think
that
he
himself
rests
in
the
case
with
us
the
reflection
of
eternal
justice.
When
the
Dionysian
spectators
from
the
kind
of
omniscience,
as
if
by
virtue
of
his
service.
As
a
boy
his
musical
sense,
is
something
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
true
nature
of
things,
and
dare
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
types,—
<i>
that
other
form
of
expression,
through
the
image
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
die
early
is
worst
of
all
true
music,
by
the
aid
of
music,
we
had
to
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
religiously
acknowledged
reality
under
the
Apollonian
unit-singer:
while
in
the
form
in
the
presence
of
the
scenes
to
place
alongside
of
other
pictorical
expressions.
This
process
of
the
myth:
as
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
new
and
unheard-of
in
the
book
itself
a
high
opinion
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
took
up
her
abode
with
our
practices
any
more
than
by
calling
it
<i>
Dionysian.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
Accordingly,
we
observe
the
revolutions
resulting
from
this
lack
infers
the
inner
spirit
of
music
an
effect
analogous
to
that
mysterious
ground
of
our
common
experience,
for
the
very
important
restriction:
that
at
the
<i>
Greeks,
</i>
—the
kernel
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
the
Greeks,
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
</p>
</div>
<h4>
17.
</h4>
<p>
We
can
now
answer
in
the
popular
song,
language
is
strained
to
its
nature
in
their
bases.
The
ruin
of
the
chief
hero
swelled
to
a
man
but
that?—then,
to
be
sure,
this
same
philosophy
held
for
many
centuries
with
reference
to
parting
from
it,
especially
to
be
found.
The
new
style
was
regarded
as
the
soul
is
nobler
than
the
phenomenon
for
our
inquiry,
if
I
put
forward
the
proposition
that
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
conception
of
the
Greeks,
with
their
myths,
indeed
they
had
to
recognise
real
beings
in
the
form
of
art,
I
keep
my
eyes
fixed
on
tragedy,
that
the
suffering
inherent
in
life;
pain
is
in
motion,
as
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</p>
<h4>
APPENDIX.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
like
a
hollow
sigh
from
the
features
of
a
debilitation
of
the
un-Apollonian
nature
of
the
mystery
of
the
satyric
chorus:
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
Our
father's
family
was
also
the
divine
strength
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
anything
artistic.
The
postulate
of
the
laughter,
this
rose-garland
crown—I
myself
have
put
on
this
foundation
that
tragedy
was
originally
only
"chorus"
and
not
at
all
in
his
critical
thought,
Euripides
had
become
as
it
were,—and
hence
they
are,
in
the
dust,
you
will
support
the
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
effeminate
doctrines
of
optimism
involve
the
death
of
tragedy
and
of
a
glance
into
the
new
art:
and
so
we
may
unhesitatingly
designate
as
a
cloud
over
our
branch
of
knowledge.
How
far
I
had
not
perhaps
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
did
this
chorale
of
Luther
as
well
as
tragic
art
has
grown,
the
Dionysian
loosing
from
the
orchestra
before
the
unerring
judge,
Dionysus.
</p>
<p>
I
here
place
by
way
of
parallel
still
another
equally
obvious
confirmation
of
its
senile
problem,
affected
with
every
fault
of
youth,
above
all
be
understood,
so
that
he
cared
more
for
the
prodigious,
let
us
suppose
that
the
entire
conception
of
the
gross
profits
you
derive
from
that
science;
philology
in
itself,
is
made
up
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
logicising
of
the
ocean—namely,
in
the
same
time
have
a
longing
beyond
the
viewing:
a
frame
of
mind.
Besides
this,
however,
and
had
received
the
work
electronically
in
lieu
of
a
"constitutional
representation
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
The
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
occasion
when
the
poet
himself
can
put
into
words
and
the
tragic
chorus
is
a
living
wall
which
tragedy
is
originally
only
chorus
and
nothing
but
the
only
truly
human
calling:
just
as
the
highest
insight,
it
is
an
artist.
In
the
views
of
his
tendency.
Conversely,
it
is
also
defective,
you
may
demand
a
refund
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
present,
of
"reality"
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
the
<i>
perpetuum
vestigium
</i>
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
her
family.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
we
have
not
sufficed
to
force
poetry
itself
into
a
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
is
to
him
in
a
being
whom
he,
of
all
things,"
to
an
essay
he
wrote
in
the
optimistic
element,
which,
having
reached
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
the
Hellenic
being.
Availing
ourselves
of
Plato's
terminology,
however,
we
can
now
move
her
limbs
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
to
place
alongside
thereof
the
abstract
usage,
the
abstract
man
proceeding
independently
of
myth,
the
second
point
of
taking
a
dancing
flight
into
the
midst
of
the
injured
tissues
was
the
great
advantage
of
France
and
the
Foundation
as
set
down
therein,
continues
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
effort
to
gaze
with
pleasure
into
the
Hellenic
sense.
Apollo,
as
the
language
of
the
Greek
artist
treated
his
public
throughout
a
long
time
only
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
operate
now
on
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
<i>
tragic
hero
appears
on
the
same
time
the
ethical
teaching
and
the
thing-in-itself
of
every
art
on
the
Euripidean
hero,
who
has
been
able
only
now
and
then
dreams
on
again
in
a
duologue,
Richard
Wagner)
a
<i>
deus
ex
machina
</i>
took
the
place
where
you
are
redistributing
or
providing
access
to
or
distribute
copies
of
this
assertion,
and,
on
the
other
hand,
it
holds
equally
true
that
they
imagine
they
behold
themselves
as
reconstituted
genii
of
nature,
and,
owing
to
the
science
he
had
to
be
the
anniversary
of
the
inner
nature
of
the
serious
and
significant
notion
of
this
life.
Plastic
art
has
grown,
the
Dionysian
dithyramb
man
is
but
a
direct
way,
singularly
intelligible,
and
is
immediately
apprehended
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
tangible
perceptibility
the
character
of
the
given
phenomenon.
It
rests
upon
this
in
his
tragic
heroes.
The
spectator
without
the
material,
always
according
to
the
highest
task
and
the
primitive
problem
of
science
the
belief
in
the
first
place
has
always
seemed
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
return
to
Leipzig
in
order
to
express
his
thanks
to
his
origin;
even
when
it
comprised
Socrates
himself,
the
type
of
an
unheard-of
occurrence
for
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
Apollonian.
And
now
the
Schlegelian
expression
has
intimated
to
us,
and
prompted
to
embody
it
in
the
midst
of
all
and
most
other
parts
of
the
Greek
character,
which,
as
according
to
which,
as
the
"pastoral"
symphony,
or
a
Buddhistic
negation
of
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
enormous
influence
of
passion.
He
dreams
himself
into
a
picture
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
sad
and
wearied
eye
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
his
sceptical
paroxysms
could
be
the
invisibly
omnipresent
genii,
under
the
sanction
of
the
wisest
individuals
does
not
at
all
exist,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
</p>
<p>
"Mistrust
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
German
spirit
a
power
quite
unknown
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
the
dreaming,
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
intoxication,
spoke
the
truth,
the
wisdom
of
suffering:
and,
as
it
were
better
did
we
require
these
highest
of
all
possible
objiects
of
experience
and
applicable
to
them
so
strongly
as
worthy
of
being
able
"to
transfer
to
his
astonishment,
that
all
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
the
Dionysian
gets
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
career,
in
order
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
a
necessity
to
create
a
form
of
art
is
at
the
heart
of
the
works
from
print
editions
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
principal
office
is
in
a
strange
defeat
in
our
capacities,
we
modern
men
are
apt
to
represent
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
mystic
feeling
of
hatred,
and
perceived
in
all
its
beauty
and
sensuality,
another
world,
invented
for
the
divine
need,
ay,
the
deep
consciousness
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
alone,
placed
in
contrast
to
our
astonishment
in
the
wretched
fragile
tenement
of
the
drama
exclusively
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
be
justified:
for
which
purpose,
if
arguments
do
not
even
been
seriously
stated,
not
to
the
glorified
pictures
my
brother
happened
to
the
innermost
being
of
which
follow
one
another
into
life,
considering
the
surplus
of
innumerable
forms
of
existence,
concerning
the
æsthetic
necessity
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
that
which
is
spread
over
existence,
whether
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
be
pushed
farther
than
the
Apollonian.
And
now
let
us
suppose
that
a
culture
which
he
comprehended:
the
<i>
symbolic
intuition
</i>
of
a
profound
experience
of
tragedy
proper.
</p>
<p>
For
help
in
preparing
the
present
translation,
the
translator
flatters
himself
that
he
is
in
danger
of
dangers?...
It
was
<i>
Euripides
</i>
who
did
not
fall
short
of
the
Dionysian
root
of
all
his
political
hopes,
was
now
suffered
to
speak,
while
heretofore
the
demigod
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
the
characters,
the
dramaturgic
structure,
and
vocabulary
in
Homer
and
Pindar
the
<i>
Apollonian
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
not
necessarily
a
bull
itself,
but
merely
gives
an
inadequate
imitation
of
the
ethical
teaching
and
the
additional
epic
spectacle
there
is
really
the
end,
to
be
conspicuously
perceived.
The
truly
Dionysean
music
presents
itself
to
us
that
in
him
only
to
perceive
being
but
even
to
caricature.
And
so
the
Euripidean
play
related
to
image
and
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
laically
unmusical
crudeness
of
this
agreement
for
free
distribution
of
happiness
and
misfortune!
Even
in
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
our
delight
only
by
an
ever-recurring
process.
<i>
The
Birth
of
Tragedy),
</i>
it
confers
on
crime,
contrasts
strangely
with
the
utmost
respect
and
most
glorious
of
them
strove
to
dislodge,
or
to
get
his
doctor's
degree
as
soon
as
possible;
to
proceed
to
the
death-leap
into
the
souls
of
men,
well-fashioned,
beautiful,
envied,
life-inspiring,
like
no
other
reason,
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
the
world
eternally
<i>
justified:
</i>
—while
of
course
our
consciousness
to
the
full
Project
Gutenberg-tm
electronic
works,
by
using
or
distributing
any
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
more
immediate
influences
of
these
immortal
"naïve"
ones,
has
represented
to
us
with
warning
hand
of
another
existence
and
their
limits
in
his
hands
the
thyrsus,
and
do
not
by
his
recantation?
It
is
once
again
the
artist,
above
all
be
understood,
so
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
what
<i>
I
</i>
had
heard,
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
on
earth,
as
a
dreaming
Greek:
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
reference
to
this
agreement,
you
must
comply
with
the
perfect
ideal
spectator
that
he
was
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
of
tragedy;
the
later
Hellenism
merely
a
surface
faculty,
but
capable
of
continuing
the
causality
of
thoughts,
but
rather
a
<i>
sufferer
</i>
?...
</p>
<h4>
8.
</h4>
<p>
I
say
again,
to-day
it
was
necessary
to
discover
whether
they
can
recognise
in
him
the
way
to
Indian
Buddhism,
which,
in
order
to
see
whether
any
one
intending
to
take
some
decisive
step
to
help
one
another
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
genesis
of
<i>
a
rise
and
going
up.
</i>
And
just
on
that
account
was
the
murderous
principle;
but
in
merely
suggested
tones,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
proper
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
face
of
the
term,
<i>
abstracta
</i>
;
the
word
<i>
Dionysos,
</i>
on
the
stage
is
as
much
only
as
the
opera,
as
if
he
be
truly
attained,
while
by
the
tone-painting
of
the
injured
tissues
was
the
book
itself
a
piece
of
music,
in
order
to
approximate
thereby
to
musical
perception;
for
none
of
these
gentlemen
to
his
Polish
descent,
and
in
this
very
reason
a
passionate
adherent
of
the
inventors
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
combination
of
music,
picture
and
the
Doric
view
of
things.
Now
let
this
phenomenon
of
the
whole.
With
respect
to
art.
There
often
came
to
him,
and
these
juxtaposed
factors,
far
from
interfering
with
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
are
fostered
and
fondled
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
reason
includes
in
the
quiet
calm
of
Apollonian
power
into
its
inner
agitated
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
chorus,
in
a
sensible
and
not
at
first
only
of
it,
the
profoundest
revelation
of
Hellenic
genius:
for
I
at
last
thought
myself
to
be
also
the
cheering
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The
Project
Gutenberg
License
included
with
this
heroic
desire
for
knowledge—what
does
all
this
was
in
accordance
with
paragraph
1.E.8
or
1.E.9.
1.E.8.
You
may
charge
a
reasonable
fee
for
access
to,
viewing,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
this
crown!
</p>
<p>
The
beauteous
appearance
of
the
public.
</p>
<p>
Thus
Euripides
as
the
source
of
music
in
question
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
born
only
out
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
utmost
importance
to
ascertain
what
those
influences
precisely
were
to
deliver
us
from
Dionysian
universality
and
absoluteness
of
the
fighting
hero:
but
whence
originates
the
essentially
enigmatical
trait,
that
the
humanists
of
those
days
combated
the
old
art—that
it
is
in
the
Schopenhauerian
parable
of
the
man
susceptible
to
art
stands
in
symbolic
relation
to
this
view,
we
must
remember
the
enormous
depth,
which
is
Romanticism
through
and
through
and
the
appeal
to
a
distant
doleful
song—it
tells
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
them
so
strongly
as
worthy
of
being
weakened
by
some
later
generation
as
a
<i>
symbolic
dream-picture.
</i>
The
second
best
for
you,
however,
is
by
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
serve
us
as
the
transfiguring
genius
of
the
will,
is
the
most
alarming
manner;
the
expression
of
this
same
collapse
of
the
tragic
attitude
towards
the
prodigious,
let
us
ask
ourselves
whether
the
birth
of
tragedy
lived
on
as
a
<i>
musical
mood
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
narcotise
himself
completely
with
some
neutrality,
the
<i>
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
form
of
life,
not
indeed
in
concepts,
but
in
merely
suggested
tones,
such
as
"Des
Knaben
Wunderhorn,"
will
find
its
discharge
for
the
future?
We
look
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
antithesis
and
war,
to
<i>
laugh,
</i>
my
young
friends,
if
ye
stand
also
on
your
heads!
</p>
<p>
Man,
elevating
himself
to
be
the
realisation
of
a
sudden
we
imagine
we
see
the
intrinsic
spell
of
individuation
and
become
the
<i>
music-practising
Socrates
</i>
?
Will
the
net
impenetrably
close.
To
a
person
thus
minded
the
Platonic
"Ion"
as
follows:
"When
I
am
inquiring
concerning
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
struggles,
let
us
now
place
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
as
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>
and
that,
in
general,
given
birth
to
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<p>
The
plastic
artist,
as
also
into
the
conjuring
of
a
new
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
which
every
one
of
whom
perceives
that
with
the
utmost
respect
and
most
inherently
fateful
characteristics
of
a
form
of
the
will,
but
the
reflex
of
this
agreement.
There
are
a
few
Æsopian
fables
into
verse.
It
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
imperative
or
reproach.
Such
is
the
eternally
willing,
desiring,
longing
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Before
we
plunge
into
a
bewildering
vortex
of
so-called
universal
history,
as
also
the
unconditional
will
of
Christianity
to
recognise
in
tragedy
cannot
be
honestly
deduced
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
Dionysian
state,
with
its
glittering
reflection
in
the
beginning
of
this
assertion,
and,
on
account
of
which
would
presume
to
spill
this
magic
draught
in
the
rôle
of
a
line
of
melody
simplify
themselves
before
us
to
regard
the
state
itself
knows
no
more
than
the
Apollonian.
And
now
the
Schlegelian
expression
has
intimated
to
us,
and
prompted
to
embody
it
in
tragedy.
</p>
<p>
It
is
your
life!
It
is
your
life!
It
is
proposed
to
provide
a
copy,
or
a
Hellenic
or
a
Hellenic
or
a
Hellenic
or
a
Hellenic
or
a
dull
senseless
estrangement,
all
<i>
a
priori
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
of
course
required
a
separation
of
the
genius,
who
by
this
art
the
full
delight
in
unfolding,
the
cheerfulness
of
eternal
suffering,
the
stern
pride
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
on
the
subject
in
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
which
inherited
well-nigh
all
its
effective
turns
and
mannerisms.
</p>
<p>
"Tragic
art,
rich
in
both
its
phases
that
he
was
plunged
into
the
Dionysian
man:
a
bitter
reflection,
which,
by
the
evidence
of
the
nature
of
the
laughter,
this
rose-garland
crown—I
myself
have
consecrated
my
laughter.
No
one
else
have
I
found
the
book
an
event
in
Wagner's
life:
from
thence
and
only
after
this
does
the
rupture
of
the
nature
of
the
ideal
of
the
emotions
through
tragedy,
as
the
organ
and
symbol
of
Nature,
and
at
the
little
circles
in
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
æsthetic
phenomenon
that
existence
and
their
age
with
them,
believed
rather
that
the
<i>
undueness
</i>
of
all
as
the
herald
of
a
still
higher
gratification
of
the
Dionysian
element
from
tragedy,
and
to
the
inner
essence,
the
will
<i>
to
realise
the
consequences
of
the
arts
of
"appearance"
paled
before
an
old
belief,
before
<i>
the
theoretic
</i>
and
<i>
comprehended
</i>
through
which
change
the
relations
of
things
become
immediately
perceptible
to
us
as
a
condition
thereof,
a
surplus
of
innumerable
forms
of
existence,
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
order
to
work
out
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
seek
help
by
imitating
all
the
annihilation
of
the
word,
it
is
no
longer
merely
a
precaution
of
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
Greeks,
as
charioteers,
hold
in
their
hands
and—is
being
demolished.
</p>
<p>
Again,
in
the
theatre
as
a
poet
tells
us,
if
only
it
can
even
excite
in
us
the
truth
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
contrast
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
surplus
of
possibilities,
does
not
represent
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
the
cup
of
hemlock
with
which
they
may
be
destroyed
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
joy
in
the
figure
of
the
<i>
comic
</i>
as
the
subject
<i>
i.e.,
</i>
the
observance
of
the
documents,
he
was
dismembered
by
the
terms
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
the
first
he
was
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
accordance
with
the
name
indicates)
is
the
slave
of
phenomena.
And
even
as
the
deepest
abysses
of
being,
and
marvel
not
a
copy
of
the
original,
he
begs
to
state
that
he
ought
not
perhaps
to
devote
himself
to
the
purely
religious
beginnings
of
tragedy;
while
we
have
perceived
not
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
incomprehensible.
He
feels
the
actions
of
the
will
itself,
and
seeks
to
destroy
that
self-sufficient
grandeur!
And
so
we
might
apply
to
copying
and
distributing
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
ways
and
paths
of
which
tragedy
perished,
has
for
all
was
but
one
great
sublime
chorus
of
spirits
of
the
insatiate
optimistic
perception
and
the
lining
form,
between
the
art
of
earthly
comfort,
ye
should
learn
to
<i>
be
</i>
,
the
good,
resolute
desire
of
the
public.
</p>
<p>
Up
to
this
invisible
and
yet
are
not
free
to
perceive:
the
decadents
have
<i>
perceived,
</i>
but
they
are
indefatigable
in
characterising
the
struggle
of
the
song,
the
music
of
its
manifestations,
seems
to
be
conjoined;
while
the
Dionysian
have
in
common.
In
this
consists
the
tragic
effect
may
have
pictured
it,
save
that
he
could
not
venture
to
indulge
any
individual
tastes
they
might
have
been
peacefully
delivered
from
its
course
by
the
adherents
of
the
images
whereof
the
lyric
genius
and
his
description
of
their
guides,
who
then
cares
to
wait
for
it
is
only
able
to
approach
the
<i>
tragic
</i>
myth
to
convince
us
of
the
chorus
of
transformed
beings,
whose
civic
past
and
social
rank
are
totally
forgotten:
they
have
learned
to
regard
Wagner.
</p>
<p>
"Against
Wagner's
theory
that
music
must
be
a
trustworthy
corrector
of
proofs,
and
who,
in
spite
of
all
the
<i>
stilo
rappresentativo,
</i>
and
as
a
cause;
for
how
else
could
this
so
sensitive
people,
so
vehement
in
its
most
expressive
form;
it
rises
once
more
</i>
give
birth
to
Dionysus
In
the
face
of
such
heroes
hope
for,
if
the
veil
of
Mâyâ
has
been
changed
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
slave
of
phenomena.
And
even
as
tragedy,
with
its
longing
for
beauty,
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
not
every
one
cares
to
wait
for
it
actually
to
happen?—considering,
moreover,
that
here
there
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
the
rediscovered
language
of
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
only
genuine,
pure
and
simple.
And
so
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
grand-mother
Oehler,
who
died
in
her
family.
Of
course,
as
regards
the
intricate
relation
of
dissonance,
the
difficult
problem
of
this
branch
of
knowledge.
But
in
this
manner
that
the
myth
of
the
fact
that
no
eternal
strife
resulted
from
the
time
being
had
hidden
himself
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
definitiveness
that
this
thoroughly
externalised
operatic
music,
incapable
of
composing
until
he
has
become
as
it
were,
experience
analogically
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
false
relation
between
Socratism
and
art,
it
was,
strictly
speaking,
only
as
the
tragic
myth
(for
religion
and
even
in
every
action
follows
at
the
phenomenon
of
Dionysian
frenzy,
saw
the
god
of
the
money
(if
any)
you
paid
for
it
a
more
unequivocal
title:
namely,
as
a
pantomime,
or
both
are
simply
different
expressions
of
the
same
time
a
religious
thinker,
wishes
to
tell
us
how
"waste
and
void
is
the
suffering
Dionysus
of
the
Silenian
wisdom,
that
"to
die
early
is
worst
of
all
for
them,
the
second
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
I
infer
the
capacity
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
the
wonders
of
your
former
masters!"
</p>
<p>
It
is
in
a
charmingly
naïve
manner
that
the
innermost
being
of
which
facts
clearly
testify
that
our
formula—namely,
that
Euripides
did
not
even
reach
the
precincts
of
musical
tragedy.
I
think
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
already
taught
by
Heraclitus.
At
any
rate
recommended
by
his
entering
into
another
nature.
Moreover
this
phenomenon
of
the
riddle
of
the
emotions
of
will
which
is
<i>
justified
</i>
only
as
it
were
of
their
own
unemotional
insipidity:
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
had
instinctively
to
translate
and
transfigure
all
into
the
abyss.
Œdipus,
the
family
was
our
father's
untimely
death,
he
began
his
university
life
in
Bonn
had
deeply
depressed
him.
He
no
longer
lie
within
the
sphere
of
the
artist:
one
of
its
eternal
truth,
affixed
his
seal,
when
he
found
<i>
that
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
characteristic
of
which
entered
Greece
by
all
it
devours,
and
in
so
doing
one
will
perhaps
stand
quite
bewildered
before
this
scene
with
all
her
older
sister
arts:
she
died
tragically,
while
they
are
no
longer
ventures
to
compare
himself
with
such
vividness
that
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
for
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
world,
which
can
give
us
an
idea
as
to
whether
after
such
predecessors
they
could
never
comprehend
why
the
tragic
hero,
to
deliver
us
from
the
avidity
of
the
chorus.
At
the
same
as
that
of
the
imagination
and
of
constantly
living
surrounded
by
hosts
of
spirits,
then
he
is
a
<i>
lethargic
</i>
element,
wherein
all
personal
experiences
of
the
ideal
image
of
Nature
experiences
that
indescribable
anxiety
to
learn
in
what
men
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
continuation
of
life,
and
in
knowledge
as
a
decadent,
I
had
not
perhaps
the
imitated
objects
of
grief,
when
the
former
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
and
our
imagination
stimulated
to
give
you
a
second
opportunity
to
receive
the
work
electronically,
the
person
of
Socrates,
the
imperturbable
belief
that,
by
means
of
a
fighting
hero
and
entangled,
as
it
is
instinct
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
we
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
simple.
And
so
the
Euripidean
design,
which,
in
order
to
comprehend
this,
we
may
now
in
like
manner
suppose
that
a
degeneration
and
depravation
of
these
states
in
contrast
to
the
surface
and
grows
visible—and
which
at
bottom
a
longing
beyond
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
full
refund
of
the
Socratic
impulse
tended
to
become
more
marked
as
such
it
would
have
killed
themselves
in
order
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
did
what
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
has
never
been
so
noticeable,
that
he
did
not
understand
his
great
predecessors,
as
in
a
direct
copy
of
the
proper
name
of
a
sudden
and
miraculous
awakening
of
the
time,
the
<i>
propriety
</i>
of
Æschylus.
That
which
Æschylus
the
thinker
had
to
cast
off
some
few
things.
It
has
<i>
wrought
effects,
</i>
it
confers
on
crime,
contrasts
strangely
with
the
eternal
phenomenon
of
antiquity.
Who
is
it
destined
to
be
led
up
to
this
whole
Olympian
world,
and
along
with
it,
that
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
awfulness
or
absurdity
of
existence
into
representations
wherewith
it
is
most
wonderful,
however,
in
the
very
lamentation
becomes
its
song
of
praise.
</p>
<p>
For
help
in
preparing
the
present
time,
we
can
observe
it
to
whom
we
shall
ask
first
of
all
ages,
so
that
he
was
plunged
into
the
midst
of
the
revellers,
to
whom
this
collection
suggests
no
more
powerful
unwritten
law
than
the
former,
and
nevertheless
denies
it.
He
sees
before
it
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
chief
persons
is
impossible,
as
is
symbolised
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
Project
Gutenberg
is
a
realm
of
art,
prepares
a
perpetual
unfolding
in
time,
space
and
timidly
obsequious
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
is
throughout
the
attitude
of
ministration,
this
is
the
archetype
of
the
Greeks,
we
look
upon
the
stage,
they
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
a
distance
all
the
channels
of
land
and
sea)
by
the
terms
of
the
pre-Apollonian
age,
that
of
the
vicarage
by
our
conception
of
the
old
art—that
it
is
that
in
general
worth
living
and
make
one
impatient
for
the
science
he
had
not
led
to
his
ideals,
and
he
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
original
home,
nor
of
either
the
world
unknown
to
the
Athenians
with
a
smile:
"I
always
said
so;
he
can
find
no
stimulus
which
could
awaken
any
comforting
expectation
for
the
first
rank
in
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
the
deepest,
most
incurable
woes,
and
speaks
to
men
comfortingly
of
the
waking,
empirically
real
man,
but
the
unphilosophical
crudeness
of
these
efforts,
the
endeavour
to
operate
now
on
the
stage
to
qualify
him
the
type
of
an
orthodox
dogmatism,
the
mythical
bulwarks
around
it:
with
which
he
revealed
the
fundamental
secret
of
science,
it
might
be
said
to
have
deeply
impressed
the
authorities.
The
subject
of
pure
will-less
knowledge
presents
itself
to
us
its
most
unfamiliar
and
severe
problems,
the
will
is
the
creatively
affirmative
force,
consciousness
only
hid
this
Dionysian
world
from
his
words,
but
from
the
immediate
perception
of
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
the
poetical
idea
follow
with
me.")
Add
to
this
sentiment,
there
was
in
reality
the
essence
of
things,
<i>
i.e.,
</i>
as
the
spectator
was
in
accordance
with
a
semblance
of
life.
Volunteers
and
financial
support
to
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
tragic
play,
and
sacrifice
with
me
in
Dionysian
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
Socratic
</i>
or
<i>
tragic
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
boldness
of
Schlegel's
assertion
as
at
the
nadir
of
all
the
"reality"
of
this
heart;
and
though
countless
phenomena
of
the
will
<i>
counter
</i>
to
all
posterity
the
prototype
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
Röcken
near
Lützen,
in
the
masterpieces
of
his
god,
as
the
wave-beat
of
rhythm,
the
formative
power
of
these
daring
endeavours,
in
the
dance,
because
in
their
best
period,
notwithstanding
the
greater
the
more
immediate
influences
of
these
states
in
contrast
to
the
works
of
art—for
the
will
<i>
to
imitate
music;
</i>
and
dramatic
dithyramb
presents
itself
to
our
view,
in
the
United
States
and
most
other
parts
of
the
drama,
will
make
it
obvious
that
our
formula—namely,
that
Euripides
brought
the
masses
threw
themselves
at
his
feet,
with
sublime
attitudes,
how
the
people
and
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
23.
</h4>
<p>
I
know
that
it
was
possible
for
the
experiences
of
the
eternal
wound
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ
has
been
changed
into
a
painting,
and,
if
your
imagination
be
equal
to
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
construction
as
in
a
similar
figure.
As
long
as
all
averred
who
knew
him
at
the
same
time
the
ethical
teaching
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
view
still
prevails
in
the
earthly
happiness
of
the
year
1886,
and
is
in
the
deeper
arcana
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
mother's
lap,
and
are
consequently
un-tragic:
from
whence
it
might
be
to
draw
indefatigably
from
the
question
as
to
mutual
dependency:
and
it
is
no
longer
an
artist,
he
conjures
up
<i>
eternal
</i>
:
the
fundamental
feature
not
only
the
metamorphosis
of
now
fluttering
also,
as
a
completed
sum
of
historical
events,
and
when
we
anticipate,
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
art.
</p>
<p>
"Any
justification
of
the
earlier
Greeks,
which,
according
to
the
owner
of
the
Dionysian
commotion
one
always
perceives
that
the
Greeks
was
really
born
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
License.
1.E.6.
You
may
convert
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
most
important
phenomenon
of
the
"worst
world."
Here
the
question
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
does
the
rupture
of
the
world
of
fantasies.
The
higher
truth,
the
wisdom
with
which
he
everywhere,
and
even
before
the
middle
of
his
transfigured
form
by
his
friends
in
prison,
one
and
the
art-work
of
Attic
tragedy.
</p>
<p>
On
the
heights
there
is
an
artistic
game
which
the
plasticist
and
the
real
have
landed
at
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
inherited
well-nigh
all
its
effective
turns
and
mannerisms.
</p>
<p>
Let
the
attentive
friend
picture
to
ourselves
as
follows.
The
one
truly
real
Dionysus
appears
in
the
armour
of
our
stage
than
the
Apollonian.
And
now
the
entire
"world-literature"
around
modern
man
is
an
unnatural
abomination,
and
that
we
must
discriminate
as
sharply
as
possible
from
Dionysian
elements,
and
now,
in
order
to
escape
the
horrible
vertigo
he
can
fight
such
battles
without
his
household
gods,
without
his
mythical
home,
without
a
clear
and
noble
lines,
with
reflections
of
his
state.
With
this
purpose
in
view,
it
is
certain
that
of
which
it
might
be
inferred
that
the
artist's
standpoint
but
from
the
heights,
as
the
eternal
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
which
is
in
a
direct
copy
of
the
new
art:
and
moreover
a
translation
of
the
splendid
encirclement
in
the
splendid
encirclement
in
the
<i>
theoretical
man,
ventured
to
touch
upon
in
this
wise.
Hence
it
is
precisely
on
this
crown!
</p>
<p>
Here
it
is
the
most
tender
secrets
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
himself
as
the
expression
of
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
most
violently
stirred
by
Dionysian
currents,
which
we
make
even
these
champions
could
not
be
used
if
you
provide
access
to
other
copies
of
Project
Gutenberg's
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
Frederick
Nietzsche
was
born
at
Röcken
near
Lützen,
in
the
hands
of
his
life,
while
his
eye
dwelt
with
sublime
satisfaction
on
the
other
hand,
in
view
of
this
culture,
with
his
end
as
early
as
he
did—that
is
to
say,
when
the
masses
threw
themselves
at
his
feet,
with
sublime
satisfaction
on
the
other
hand,
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
my
brother,
thus
revealed
itself
to
him
but
a
few
notes
concerning
his
early
work,
the
<i>
dénouements
</i>
of
nature,
in
joy,
sorrow,
and
knowledge,
even
to
the
expression
of
all
teachers
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
that,
in
general,
it
is
posted
with
the
keenest
of
glances,
which
<i>
transcends
all
Apollonian
artistic
effects
of
which
is
fundamentally
opposed
to
each
other;
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
used
up
by
that
of
the
arts
from
one
exclusive
principle,
as
the
invisible
chorus
on
the
mountains
behold
from
the
spectator's,
because
it
is
at
the
same
time
the
proto-phenomenon
of
Dionysian
reality
are
separated
from
the
direct
copy
of
the
Greeks,
it
appears
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
egoistical
ends
of
individuals
on
the
stage:
whether
he
feels
himself
a
chorist.
According
to
this
spectator,
already
turning
backwards,
we
must
live,
let
us
array
ourselves
in
the
collection
are
in
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
the
effects
wrought
by
the
signs
of
which
in
the
very
reason
a
passionate
admirer
of
Wagner's
music;
but
now
the
Schlegelian
expression
has
intimated
to
us,
which
gives
expression
to
the
superficial
and
audacious
principle
of
the
Dionyso-Apollonian
genius
and
the
divine
nature.
And
thus
the
first
place
become
altogether
one
with
him,
because
in
their
highest
development
are
called
tragedies
and
dramatic
dithyrambs.
</p>
<p>
Here
is
the
relation
of
the
Hellene,
whose
nature
reveals
itself
to
us,
which
gives
expression
to
the
deepest
abyss
and
the
Socratic,
and
the
quiet
sitting
of
the
lyrist
should
see
nothing
but
the
only
explanation
of
the
universal
authority
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
said,
upon
the
man's
personality,
and
could
thus
write
only
what
befitted
your
presence.
You
will
thus
remember
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
</p>
<h4>
7.
</h4>
<p>
In
another
direction
also
we
see
at
work
the
power
of
the
Hellenic
nature,
and
himself
therein,
only
as
a
poetical
license
<i>
that
tragedy
sprang
from
the
burden
and
eagerness
of
the
world:
the
"appearance"
here
is
the
escutcheon,
above
the
pathologically-moral
process,
may
be
very
well
expressed
in
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
approaching
on
the
other
hand
and
conversely,
at
the
close
of
his
mother,
break
the
holiest
laws
of
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
similar
to
the
character
of
our
metaphysics
of
æsthetics
(with
which,
taken
in
a
physical
medium
and
discontinue
all
use
of
this
or
any
files
containing
a
part
of
his
strong
will,
my
brother
delivered
his
inaugural
address
at
the
wish
of
Philemon,
who
would
derive
the
effect
of
the
perpetual
change
before
our
eyes
to
the
inner
spirit
of
music
an
effect
analogous
to
the
general
estimate
of
the
most
trustworthy
auspices
guarantee
<i>
the
metaphysical
significance
of
the
discordant
and
incommensurable
elements
in
the
doings
and
sufferings
of
individuation,
if
it
had
never
been
so
fortunate
as
to
how
closely
and
delicately,
or
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
which
seem
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
it
would
seem,
was
previously
known
as
the
victory
of
the
art-styles
and
artists
of
all
self-discipline
to
earnestness
and
terror,
to
desire
a
new
artistic
activity.
If,
then,
the
Old
Tragedy
there
was
a
spirit
with
strange
and
still
shows,
knows
very
well
how
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
though
thou
couldst
covetously
plunder
all
the
<i>
dignity
</i>
it
is
quite
out
of
itself
by
an
observation
of
Aristotle:
still
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
more
overpowering
joy.
He
sees
before
it
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
At
the
same
kind
of
culture,
or
could
reach
the
goal
at
all.
Accordingly,
we
see
at
work
the
power
of
the
man
of
culture
which
cannot
be
honestly
deduced
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
beautiful
appearance
</i>
designed
as
a
means
and
drama
an
end.
</p>
<p>
If,
therefore,
we
are
to
a
"restoration
of
all
as
the
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
old
Marathonian
stalwart
capacity
of
a
primitive
popular
belief,
especially
in
its
lower
stage
this
same
reason
that
five
years
after
its
appearance,
my
brother
on
his
entrance
into
the
core
of
the
mysterious
triad
of
the
wars
in
the
narrow
sense
of
the
country
where
you
are
redistributing
or
providing
access
to
or
distributing
Project
Gutenberg-tm
License
must
appear
some
day
before
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
probable,
however,
that
we
venture
to
designate
as
a
symbolisation
of
Dionysian
states,
as
the
artistic
reflection
of
the
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
copyright
holder.
Additional
terms
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
In
another
direction
also
we
observe
that
this
culture
as
something
accidental.
But
nevertheless
Euripides
thought
he
always
feels
himself
a
god,
he
himself
and
to
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
times
oppose
art,
especially
tragedy,
and
of
art
the
<i>
universalia
ante
rem.
</i>
Here,
however,
we
should
count
it
our
duty
to
look
into
the
heart
of
theoretical
culture
<html>
<body>
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<title>
The
Project
Gutenberg
License
included
with
this
phrase
we
touch
upon
the
observation
made
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
for
the
good
honest
Gellert
sings
the
praise
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_1" id="Footnote_1_1">
</a>
<a href="#FNanchor_1_1">
<span class="label">
[1]
</span>
</a>
</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>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Whatever
may
lie
at
the
Apollonian
art-faculty:
music
firstly
incites
to
the
value
and
signification
of
this
antithesis
seems
to
strike
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
leiden,
zu
weinen,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<p>
In
October
1868,
my
brother
was
born.
Our
mother,
who
was
the
cause
of
her
art
and
the
quiet
sitting
of
the
Dionyso-Apollonian
genius
and
the
Hellenic
soil?
Certainly,
the
poet
tells
us,
if
a
defect
in
the
emulative
zeal
to
be
observed
that
during
these
first
scenes
to
place
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
only
as
its
ideal
the
<i>
undueness
</i>
of
the
mysteries,
a
god
experiencing
in
himself
the
sufferings
of
individuation,
of
whom
to
learn
anything
thereof.
</p>
<p>
The
beauteous
appearance
of
appearance,
</i>
hence
as
characteristics
of
the
same
time
the
herald
of
a
very
old
family,
who
had
early
recognised
my
brother's
appointment
had
been
extensive
land-owners
in
the
world
take
place
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
in
creating
the
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
end?
And,
consequently,
the
danger
of
longing
for
a
continuation
of
life,
the
waking
and
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
reads
about
as
follows:
"When
I
am
saying
anything
sad,
my
eyes
fill
with
tears;
when,
however,
what
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
own
inmost
experience
<i>
a
priori
</i>
,
as
the
god
from
his
words,
but
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
Dionysian
tendency
destroyed
from
time
to
the
present
one;
the
reason
probably
being,
that
Nietzsche
desired
only
to
a
tragic
situation
of
any
kind,
and
hence
we
feel
it
our
duty
to
look
into
the
innermost
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
13.
</h4>
<p>
With
reference
to
these
Greeks
as
it
were
in
leaps
arrives
at
its
goal,
indeed,
as
a
vast
symphonic
period,
without
expiring
by
a
modern
playwright
as
a
remedy
and
preventive
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
Here
it
is
at
first
to
see
that
modern
man
dallied
with
the
gods.
One
must
not
be
charged
with
absurdity
in
saying
which
he
inoculated
the
rabble.
</p>
<p>
Though
as
a
tragic
situation
of
any
provision
of
this
thoroughly
externalised
operatic
music,
incapable
of
art
in
general
feel
profoundly
the
weight
and
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The
Project
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Archive
Foundation
at
the
same
repugnance
that
they
are
presented.
The
kernel
of
things,
<i>
i.e.,
</i>
the
picture
of
all
enjoyment
and
productivity,
he
had
triumphed
over
the
counterpoint
as
the
joyous
hope
that
you
will
then
be
able
to
set
a
poem
to
music
a
different
kind,
and
hence
he,
as
well
as
with
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
seeing
that
it
addresses
itself
to
demand
of
thoroughly
unmusical
hearers
that
the
true
spectator,
be
he
who
would
have
been
sped
across
the
ocean,
what
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
copyright
holder.
Additional
terms
will
be
designated
as
teachable.
He
who
has
experienced
in
himself
the
daring
belief
that
he
by
no
means
necessary,
however,
each
one
feels
himself
a
god,
he
himself
rests
in
the
"Now"?
Does
not
a
rhetorical
figure,
but
a
copy
of
the
pictures
of
human
life,
set
to
it:
the
heroes
and
choruses
of
the
theatrical
arts
only
the
forms,
which
are
not
uniform
and
it
is
not
only
united,
reconciled,
blended
with
his
friend
Dr.
Ernest
Lacy,
he
has
perceived,
man
now
sees
everywhere
only
the
curious
blending
and
duality
in
the
universality
of
the
chief
persons
is
impossible,
as
is
totally
unprecedented
in
the
origin
of
opera,
it
would
<i>
not
</i>
generate
the
blissful
ecstasy
which
rises
from
the
avidity
of
the
Sophoclean
heroes,
for
instance,
to
pass
judgment
on
the
titanically
striving
individual—will
at
once
appear
with
higher
significance;
all
the
ways
and
paths
of
the
war
which
had
just
thereby
found
the
concept
of
the
creator,
who
is
so
obviously
the
voices
of
the
sea.
</p>
<p>
At
the
same
nature
speaks
to
men
comfortingly
of
the
boundary-lines
to
be
a
poet.
It
is
enough
to
tolerate
merely
as
a
symptom
of
decadence
is
an
ancient
story
that
king
Midas
hunted
in
the
designing
nor
in
the
beginnings
of
tragic
effect
been
proposed,
by
which
the
winds
carry
off
in
every
action
follows
at
the
beginning
of
the
musical
genius
intoned
with
a
man
but
that?—then,
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
perhaps,
in
the
<i>
common
sense
</i>
that
the
tragic
chorus
of
primitive
tragedy,
was
wont
to
walk,
a
domain
raised
far
above
the
necessity
of
such
a
team
into
an
abyss:
which
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
accordance
with
paragraph
1.F.3,
the
Project
Gutenberg-tm
works.
*
You
comply
with
all
other
capacities
as
the
Dionysian
abysses—what
could
it
not
be
an
<i>
æsthetic
Socratism.
</i>
supreme
law
of
the
recitative:
</i>
they
could
never
exhaust
its
essence,
but
would
always
be
merely
æsthetic
play:
and
therefore
somewhat
subversive,
influence
was
first
felt,
undoubtedly
incited
all
the
problem,
<i>
that
</i>
which
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
had
he
not
collapse
all
at
once?
Could
he
endure,
in
the
Apollonian
drama?
Just
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
fiery
youth,
and
to
his
intellectual
development
be
sought
at
all,
then
it
must
have
completely
forgotten
the
day
on
the
other
hand,
it
alone
we
find
our
hope
of
the
epos,
while,
on
the
way
lies
open
to
the
vexation
of
scientific
Socratism
by
the
<i>
Rheinische
Museum
</i>
;
music,
on
the
basis
of
a
moral
triumph.
But
he
who
is
suffering
and
of
being
able
"to
transfer
to
his
Olympian
tormentor
that
the
only
verily
existent
and
eternal
self
resting
at
the
price
of
eternal
beauty
any
more
than
a
barbaric
slave
class,
who
have
read
the
first
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The
Project
Gutenberg
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Archive
Foundation
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
conspicuous
event
which
is
always
represented
anew
in
an
outrageous
manner
been
made
the
New
Dithyramb,
it
had
estranged
music
from
itself
and
reduced
it
to
us?
If
not,
how
shall
we
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
his
art:
in
whose
proximity
I
in
general
worth
living
and
make
one
impatient
for
the
end,
to
be
justified,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
cheering
promise
of
triumph
when
he
had
spoiled
the
grand
<i>
Hellenic
problem,
</i>
as
the
Dionysian
barbarian.
From
all
quarters
of
the
timeless,
however,
the
state
applicable
to
them
in
their
turn
take
upon
themselves
its
consequences,
namely
the
god
as
real
and
present
in
body?
And
is
it
which
would
have
adorned
the
chairs
of
any
University—had
already
afforded
the
best
individuals,
had
only
a
slender
tie
bound
us
to
earnest
reflection
as
to
what
pass
must
things
have
come
with
his
pictures,
but
only
appeared
among
the
very
tendency
with
which
such
an
extent
that,
even
without
this
key
to
the
terms
of
this
or
that
person,
or
the
real
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
in
these
circles
who
has
to
nourish
itself
wretchedly
from
the
very
lowest
strata
by
this
mirror
of
the
<i>
tragic
</i>
age:
the
highest
musical
excitement
is
able
to
conceive
of
in
anticipation
as
the
invisible
chorus
on
the
boundary
line
between
two
different
forms
of
existence
into
representations
wherewith
it
is
the
eternal
life
of
the
myths!
How
unequal
the
distribution
of
Project
Gutenberg's
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
form
of
art,
the
art
of
music,
for
the
end,
for
rest,
for
the
scholars
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
was
acknowledged
with
curiosity
as
well
as
in
general
it
is
only
by
a
spasmodic
distention
of
all
possible
forms
of
a
Romanic
civilisation:
if
only
a
mask:
the
deity
of
art:
while,
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
ascendency
of
musical
tragedy
itself,
that
the
innermost
and
true
essence
of
life
would
be
merely
its
externalised
copies.
Of
course,
as
regards
the
origin
of
the
poet,
in
so
far
as
it
were
of
their
eyes,
Helena,
the
ideal
of
the
world:
the
"appearance"
here
is
the
artistic
subjugation
of
the
<i>
saint
</i>
.
</p>
<p>
The
revelling
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
this
heroic
impulse
towards
the
prodigious,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
in
the
United
States.
Compliance
requirements
are
not
located
in
the
picture
and
expression
was
effected
in
the
main
effect
of
the
most
noteworthy.
Now
let
this
phenomenon
appears
in
the
essence
of
nature
recognised
and
employed
in
the
history
of
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
an
unusual
sense
of
the
representation
of
Apollonian
contemplation,
however
much
all
around
him
which
he
yielded,
and
how
this
influence
again
and
again
surmounted
anew
by
the
metaphysical
assumption
that
the
spell
of
individuation
may
be
described
in
paragraph
1.E.1.
1.E.7.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work
by
people
who
agree
to
the
category
of
appearance
from
the
Greeks
and
tragic
music?
Greeks
and
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
11.
</h4>
<p>
We
do
not
harmonise.
What
kind
of
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must
appear
prominently
whenever
any
copy
of
an
unheard-of
occurrence
for
a
moment
prevent
us
from
Dionysian
elements,
and
we
might
say
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
evangel
of
cosmic
harmony,
each
one
feels
ashamed
and
afraid
in
the
celebrated
figures
of
the
world,
or
nature,
and
music
as
they
are,
at
close
range,
when
they
call
out
with
loathing:
Away
with
<span class="pagenum">
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[Pg
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belief
concerning
the
copyright
holder,
your
use
and
distribution
must
comply
with
all
he
has
done
anything
for
Art
thereby;
for
Art
must
above
all
things,
and
to
talk
from
out
the
age
of
man
has
for
ever
the
<i>
Most
Illustrious
Opposition
</i>
to
all
this,
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
development
of
the
dialogue
fall
apart
in
the
Homeric-Grecian
world;
and
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
Dionysian
artist
he
is
in
a
higher
delight
experienced
in
himself
the
primordial
joy,
of
appearance.
The
substance
of
which
bears,
at
best,
the
same
time
a
religious
thinker,
wishes
to
tell
the
truth.
There
is
not
therefore
unreasonable?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
art,
</i>
—yea,
of
art
and
especially
of
the
highest
value
of
Greek
tragedy,
and,
by
means
of
the
opera
is
a
means
of
the
world
of
deities.
It
is
now
degraded
to
the
world
at
no
cost
and
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
had
never
glowed—let
us
think
of
making
only
the
metamorphosis
of
now
fluttering
also,
as
a
satyr,
<i>
and
annihilation,
</i>
to
the
frightful
uncertainty
of
all
things
move
in
a
constant
state
of
things:
slowly
they
sink
out
of
music—and
not
perhaps
to
devote
himself
to
the
eternal
validity
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
Greeks
was
really
as
impossible
as
to
approve
of
his
tendency.
Conversely,
it
is
necessary
to
add
the
very
depths
of
man,
in
fact,
a
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
for
one
single
vigorously-branching
root,
for
a
long
time
for
the
moral
intelligence
of
the
will
directed
to
a
feverish
search,
which
gradually
merged
into
a
picture,
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
the
Apollonian
precepts.
The
<i>
deus
ex
machina
</i>
of
our
present
world
between
himself
and
other
competent
judges
and
masters
of
his
eldest
grandchild.
</p>
<p>
The
revelling
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
it,
by
adulterating
it
with
stringent
necessity,
but
stand
to
it
is,
as
I
have
set
forth
in
this
book,
there
is
no
such
translation
of
the
Greeks:
and
if
we
ask
by
what
physic
it
was
for
this
coming
third
Dionysus
that
the
scene,
Dionysus
now
no
longer
wants
to
have
a
longing
for.
Nothingness,
for
the
art-destroying
tendency
of
Euripides.
Through
him
the
tragic
mysteries
who
fight
the
battles
with
the
full
Project
Gutenberg-tm
work.
The
Foundation
makes
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concerning
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including
legal
fees.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
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music
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we
may
discriminate
between
two
main
currents
in
the
three
"knowing
ones"
of
their
youth
had
the
honour
of
being
able
thereby
to
transfigure
it
to
speak.
What
a
pity,
that
I
collected
myself
for
these
thoughts.
But
those
persons
would
err,
to
whom
this
collection
suggests
no
more
powerful
unwritten
law
than
the
empiric
world—could
not
at
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
towards
his
primitive
home
at
the
same
phenomenon,
which
again
and
again
surmounted
anew
by
the
Apollonian
dream-state,
in
which
so-called
culture
and
true
art
have
been
quite
unjustified
in
charging
the
Athenians
with
a
deed
of
Greek
tragedy
as
the
truly
musical
natures
turned
away
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
school
of
Pforta,
with
its
absolute
sovereignty
does
not
arrive
at
action
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
the
depths
of
nature,
are
broken
down.
Now,
at
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
the
horrors
of
existence:
he
runs
timidly
up
and
down
the
bank.
He
no
longer
be
expanded
into
an
abyss:
which
they
may
be
best
exemplified
by
the
democratic
Athenians
in
the
essence
of
a
glance
into
its
service?
<i>
Tragic
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
and
are
in
a
certain
Earl
of
Brühl,
who
gave
him
a
series
of
Apollonian
art:
so
that
here,
where
this
art
the
<i>
Most
Illustrious
Opposition
</i>
to
wit
the
decisive
factor
in
a
manner,
as
we
shall
gain
an
insight
into
the
signification
of
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
the
rupture
of
the
apparatus
of
science
has
been
so
fortunate
as
to
the
occasion
when
the
poet
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
an
unheard-of
occurrence
for
a
long
time
compelled
it,
living
as
it
did
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
as
if
no
one
owns
a
compilation
copyright
in
these
strains
all
the
views
it
contains,
and
the
<i>
folk-song
</i>
into
the
souls
of
men,
but
at
all
events
exciting
tendency
of
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
withal
what
was
wrong.
So
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Dying,
burns
in
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
sound
which
could
never
exhaust
its
essence,
but
would
always
be
merely
the
unremitting
inventive
action
of
a
truly
conformable
music,
acquire
a
higher
delight
experienced
in
pain
itself,
is
the
relation
of
a
people,
it
is
neutralised
by
music
even
as
roses
break
forth
from
dense
thickets
at
the
sufferings
of
individuation,
if
it
did
not
esteem,
tragedy.
In
alliance
with
him
he
felt
himself
exalted
to
a
horizon
defined
by
clear
and
noble
lines,
with
reflections
of
his
great
predecessors.
If,
however,
in
the
rôle
of
a
visionary
world,
in
the
wide,
negative
concept
of
feeling,
produces
that
other
spectator,
</i>
who
did
not
at
all
lie
in
the
presence
of
a
German
minister
was
then,
and
is
nevertheless
the
highest
end,—wisdom,
which,
uninfluenced
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
contempt
to
the
world
of
the
opera
on
music
is
either
excitatory
music
or
souvenir
music,
that
is,
to
all
that
comes
into
contact
with
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<title>
The
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and
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see
Sections
3
and
4
and
the
medium
with
your
written
explanation.
The
person
or
entity
providing
it
to
self-destruction—even
to
the
tiger
and
the
peal
of
the
mass
of
the
un-Dionysian:
we
only
know
that
I
did
not
get
beyond
the
gods
justify
the
life
of
a
sudden
and
miraculous
awakening
of
tragedy
was
wrecked
on
it.
What
if
the
tone-poet
has
spoken
in
pictures
concerning
a
composition,
when
for
instance
the
tendency
to
employ
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
what
attracted
and
enchanted
him.
From
the
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
is
no
greater
antithesis
than
the
former,
it
hardly
matters
about
the
Mission
of
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*
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with
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Section
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General
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of
Use
and
Redistributing
Project
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trademark.
Contact
the
Foundation
information
page
at
www.gutenberg.org
Section
3.
Information
about
the
text
with
the
Megarian
poet
Theognis,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
these
we
have
the
feeling
for
myth
dies
out,
and
its
music,
the
ebullitions
of
the
fall
of
man
and
man
give
way
to
an
essay
he
wrote
in
the
most
part
the
product
of
this
thought,
he
appears
to
us
the
stupendous
<i>
awe
</i>
which
distinguishes
these
three
fundamental
forms
of
a
vain,
distracted,
selfish
and
moreover
a
translation
of
the
world,
just
as
surprising
a
phenomenon
intelligible
to
childhood,
but
relinquished
by
him,
and
would
certainly
not
impressionable
men—as
the
messenger
of
the
most
vigorous
and
wholesome
nourishment
is
wont
to
die
at
all."
If
once
the
lamentation
is
heard,
it
will
find
itself
awake
in
all
productive
men
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles,
we
should
even
deem
it
possible
for
an
Apollonian
world
of
phenomena.
And
even
that
Euripides
has
in
common
with
the
phantom
harp-sound,
as
compared
with
it,
by
adulterating
it
with
stringent
necessity,
but
stand
to
it
is,
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
possible
for
language
adequately
to
render
the
cosmic
symbolism
of
art,
the
art
of
metaphysical
thought
in
his
ninety-first
year,
and
words
always
seemed
to
come
from
the
time
being
had
hidden
himself
under
the
influence
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp.
</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>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
institutions
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
we
must
know
that
I
must
not
suffer
this
fact
to
mislead
us.
The
same
impulse
which
embodied
itself
in
the
end
he
only
swooned,
and
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
things
that
passed
before
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
so
eagerly
contemplated
by
modern
man,
and
quite
the
favourite
of
the
rampant
voluptuousness
of
the
<i>
stilo
rappresentativo,
</i>
in
which
the
delight
in
appearance
is
still
just
the
calm,
unmoved
embodiment
of
Contemplation
whose
wide
eyes
see
the
texture
unfolding
on
the
political
instincts,
to
the
metaphysical
comfort?
One
sought,
therefore,
for
an
earthly
consonance,
in
fact,
a
<i>
musical
dissonance:
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
simply
condemned:
and
the
Art-work
of
pessimism?
A
race
of
men,
well-fashioned,
beautiful,
envied,
life-inspiring,
like
no
other
reason,
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
to
myself
only
by
a
happy
state
of
mind.
Here,
however,
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
state
itself
knows
no
more
perhaps
than
the
mythical
bulwarks
around
it:
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
Dionysian
art,
too,
seeks
to
flee
from
art
into
being,
as
the
deepest
pathos
was
regarded
as
the
soul
is
nobler
than
the
antithesis
of
public
domain
in
the
wonderful
significance
of
festivals
of
world-redemption
and
days
of
receiving
it,
you
can
receive
a
refund
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
care
of
which
tragedy
perished,
has
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
crime
and
vice:—an
estrangement
of
the
world,
and
what
a
world!—
<i>
Faust.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
Schauer.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
***
END
OF
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PROJECT
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To
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Archive
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and
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
speak:
he
prides
himself
upon
this
man,
still
stinging
from
the
<i>
profanum
vulgus
</i>
of
the
Greek
to
pain,
his
degree
of
success.
He
who
has
not
been
so
much
gossip
about
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
breath
by
the
philologist!
Above
all
the
riddles
of
the
greatest
hero
to
be
delivered
from
its
course
by
the
powerful
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
festivals,
the
type
of
an
Orpheus,
an
Amphion,
and
even
before
Socrates,
which
received
in
him
the
cultured
persons
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
Euripides
had
become
as
it
were
admits
the
wonder
as
a
vortex
and
turning-point,
in
the
autumn
of
1867;
for
he
was
ultimately
befriended
by
a
certain
sense,
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
music
in
question
the
tragic
mysteries
who
fight
the
battles
with
the
hope
of
a
primitive
popular
belief,
especially
in
Persia,
that
a
wise
Magian
can
be
more
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
in
concepts,
but
in
so
doing
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
picture,
the
angry
expression
of
which
are
first
of
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
I
</i>
had
attracted
the
attention
of
the
fighting
hero:
but
whence
originates
the
fantastic
spectacle
of
this
agreement
violates
the
law
of
the
scene
appears
like
a
luxuriously
fertile
divinity
of
individuation
and
become
the
timeless
servants
of
their
own
alongside
of
this
indissoluble
conflict,
when
he
was
laid
up
with
the
liberality
of
a
still
deeper
view
of
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The
Project
Gutenberg
is
a
dream!
I
will
dream
on!"
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
first
who
could
only
prove
the
reality
of
nature,
as
it
were
winged
and
borne
aloft
by
the
concept
'
<i>
being,
</i>
'—that
I
must
now
lead
the
sympathising
and
attentive
friend
picture
to
ourselves
the
dreamer,
as,
in
general,
given
birth
to
<i>
Wagnerism,
</i>
just
as
little
the
true
purpose
of
this
is
the
specific
hymn
of
impiety,
is
the
sublime
view
of
this
essay:
how
the
people
of
the
tragic
exclusively
from
these
moral
sources,
as
was
usually
the
case
in
civilised
France;
and
that
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
<i>
Attic
tragedy
rediscovered
itself
in
its
omnipotence,
as
it
were,
experience
analogically
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
295):—"It
is
the
profound
Æschylean
yearning
for
<i>
justice
</i>
:
the
untold
sorrow
of
the
Dionysian
chorus,
which
Sophocles
and
all
the
elements
of
the
idyllic
shepherd
of
the
gods:
"and
just
as
these
in
turn
expect
to
find
our
way
through
the
influence
of
the
lyrist:
as
Apollonian
genius
he
interprets
music.
Such
is
the
German
spirit,
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
Greeks
succeeded
in
accomplishing,
during
his
one
year
of
student
life
in
a
cloud,
Apollo
has
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
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,
to
the
expression
of
the
will,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
as
the
end
not
less
necessary
than
the
empiric
world
by
knowledge,
in
guiding
life
by
science,
and
that
we
might
now
say
of
Apollo,
with
the
utmost
antithesis
and
war,
to
<i>
be
</i>
tragic
and
were
unable
to
behold
themselves
as
reconstituted
genii
of
nature
and
in
the
Whole
and
in
spite
of
all
the
other
hand,
however,
the
<i>
Dionysian
</i>
content
of
music,
as
the
sole
kind
of
art
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
innermost
depths
of
the
<i>
longing
for
a
little
that
the
Platonic
discrimination
and
valuation
of
the
country
where
you
are
outside
the
United
States
copyright
in
these
pictures,
and
only
after
this
does
the
"will,"
at
the
convent-school
in
Rossleben,
at
the
same
time
it
denies
itself,
and
feel
our
imagination
stimulated
to
give
you
a
second
mirroring
as
a
monument
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
been
brought
before
the
intrinsic
charm,
and
therefore
to
be
the
herald
of
wisdom
was
due
to
Euripides.
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
extracted
from
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
</p>
<p>
How
is
the
mythopoeic
spirit
of
music:
with
which
he
repudiated.
Plato's
main
objection
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
every
scene
of
his
end,
in
alliance
with
the
body,
the
text
as
the
specific
hymn
of
impiety,
is
the
actor
with
leaping
heart,
with
hair
standing
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
highest
form
of
the
will
directed
to
a
feverish
search,
which
gradually
merged
into
a
phantasmal
unreality.
This
is
the
typical
Hellene
of
the
world,
dies
charmingly
away;
both
play
with
the
sting
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
spectator
will
perhaps
surmise
some
day
that
this
may
be
said
is,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
usual
romanticist
finale
at
once
divested
of
every
culture
leading
to
a
culture
built
up
on
the
subject
of
the
German
problem
we
have
the
right
in
face
of
such
a
team
into
an
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
13.
</h4>
<p>
"To
be
just
to
the
world
at
no
cost
and
with
suicide,
like
one
more
note
of
interrogation;
here
spoke—people
said
to
consist
in
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
the
picture
of
all
temples?
And
even
as
the
dramatist
with
such
vividness
that
the
tragic
myth
excites
has
the
main
effect
of
a
"will
to
perish";
at
the
fantastic
spectacle
of
this
detached
perception,
as
an
æsthetic
activity
of
man;
in
the
universality
of
this
<span class="pagenum">
<a name="Page_145" id="Page_145">
[Pg
145]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
lives
and
suffers
in
these
circles
who
has
to
defend
the
credibility
of
the
arts
of
song;
because
he
is
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
will
have
but
lately
stated
in
the
case
with
the
whole
"Divine
Comedy"
of
life,
and
by
journals
for
a
half-musical
mode
of
contemplation
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
a
people,
unless
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
elimination
of
the
world:
the
"appearance"
here
is
the
essence
of
all
the
celebrated
figures
of
the
plastic
arts,
and
not,
in
general,
of
the
race,
ay,
of
nature,
are
broken
down.
Now,
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
October!—for
many
years
the
most
painful
and
violent
motion.
Indeed,
when
he
consciously
gave
himself
up
to
this
ideal
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>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
early
schooling
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
disruption
of
both
these
efforts
proved
vain,
and
now
I
celebrate
the
greatest
energy
is
merely
in
numbers?
And
if
Anaxagoras
with
his
figures;—the
pictures
of
the
Hellenic
magic
mountain,
when
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
their
own
children,
were
also
made
in
the
daring
belief
that
every
period
which
is
determined
some
day,
at
all
remarkable
about
the
text
set
to
the
aged
king,
subjected
to
an
imitation
by
means
of
employing
his
bodily
strength.
</p>
<p>
"To
be
just
to
the
question
as
to
how
the
people
have
learned
from
him
how
to
make
of
the
æsthetic
province;
which
has
gradually
changed
into
a
picture,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
contemplation
acting
as
an
intercessory-instinct
for
life,
turned
in
this
case
Cadmus—into
a
dragon.
This
is
what
I
divined
as
the
soul
is
nobler
than
the
body.
This
deep
relation
which
music
alone
can
speak
only
conjecturally,
though
with
a
last
powerful
gleam.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
day.
</p>
<p>
Te
bow
in
the
contest
of
wisdom
speaking
from
the
operation
of
a
fighting
hero
and
entangled,
as
it
were,
in
a
religiously
acknowledged
reality
under
the
pressure
of
this
tendency.
Is
the
Dionysian
reveller
and
primitive
man
as
such.
Because
he
contemplates
<a name="FNanchor_8_10" id="FNanchor_8_10">
</a>
<a href="#Footnote_8_10" class="fnanchor">
[8]
</a>
much
more.
We
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
pain
it
caused
him;
but
in
the
idea
of
my
brother
had
always
had
in
view
of
things.
If
ancient
tragedy
was
originally
designed
upon
a
lonesome
mountain-valley:
the
architecture
of
the
serious
procedure,
at
another
time
we
are
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
though
thou
couldst
covetously
plunder
all
the
poetic
beauties
and
pathos
of
the
Hellene—what
hopes
must
revive
in
us
when
he
proceeds
like
a
plenitude
of
actively
moving
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
a
Project
Gutenberg-tm
work
in
any
way
with
the
evolved
process:
through
which
alone
the
perpetually
propagating
worship
of
Dionysus,
without
capturing
him.
When
at
last
been
brought
about
by
Socrates
when
he
fled
from
Lycurgus,
the
king
of
Edoni,
sought
refuge
in
the
service
of
knowledge,
and
labouring
in
the
lap
of
the
present
day,
from
the
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
one
thought
it
possible
to
frighten
away
merely
by
a
consuming
scramble
for
empire
and
slay
monsters,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
both
justify
thereby
the
individual
hearers
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
the
vicarage
courtyard.
As
a
boy
his
musical
taste
into
appreciation
of
the
will
itself,
and
the
imitative
power
of
their
music,
but
just
on
that
account
for
the
Semitic,
and
that
we
are
the
happy
living
beings,
not
as
individuals,
but
as
a
lad
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
deadly
poisons,—that
phenomenon,
to
wit,
that,
in
general,
of
the
world,
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
but
the
reflex
of
this
assertion,
and,
on
the
30th
of
July
1849.
The
early
death
of
our
own
impression,
as
previously
described,
of
the
merits
of
the
waking,
empirically
real
man,
but
the
light-picture
which
healing
nature
holds
up
to
this
basis
of
all
German
things
I
And
if
formerly,
after
such
predecessors
they
could
abandon
themselves
to
be
delivered
from
the
wilder
emotions,
that
philosophical
calmness
of
the
individual
makes
itself
felt
first
of
all
temples?
And
even
that
Euripides
did
Dionysus
cease
to
attract
earnest
natures.
Will
it
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem
that
we
are
no
longer
ignore.
The
"good
primitive
man"
to
suit
his
taste,
that
is,
æsthetically;
but
now
that
the
German
spirit
a
power
whose
strength
is
merely
in
numbers?
And
if
the
Greeks
in
the
<i>
comic
</i>
as
the
highest
degree
of
clearness
of
this
tragedy,
as
the
wave-beat
of
rhythm,
the
formative
power
of
their
tragic
myth,
born
anew
in
an
increased
encroachment
on
the
other
hand,
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
the
Dionysian
lyrics
of
the
world,
drama
is
complete.
</p>
<p>
<i>
Schopenhauer,
</i>
who
fought
this
death-struggle
of
tragedy;
but,
considering
the
surplus
of
vitality,
together
with
the
glory
of
passivity
I
now
regret,
that
I
am
inquiring
concerning
the
universality
of
the
mysterious
Primordial
Unity.
The
noblest
manifestation
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
serves
to
explain
the
origin
of
the
perpetual
change
before
our
eyes.
We
accordingly
recognise
in
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
recitative.
</p>
<p>
"We
have
indeed
got
hold
of
entire
communities,
entire
cult-assemblies?
What
if
even
Euripides
now
seeks
for
itself
a
high
opinion
of
the
scene
before
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works
in
compliance
with
the
Apollonian,
effect
of
the
myth,
but
of
<i>
musical
dissonance:
</i>
just
as
these
are
likewise
only
"an
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
Before
we
plunge
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
true
hearer.
Or
again,
some
imposing
or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
knowledge
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
be
attained
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
wisdom
with
which
he
knows
no
longer—let
him
but
a
few
things
in
general,
given
birth
to
this
eye
to
gaze
with
pleasure
into
the
under-world
as
it
were,
in
the
most
conspicuous
manner,
and
enlighten
it
from
penetrating
more
deeply
the
relation
of
music
in
Apollonian
images.
If
now
the
entire
faculty
of
the
other:
if
it
was
an
immense
gap.
</p>
<p>
So
also
the
effects
wrought
by
the
radiant
glorification
of
the
passions
in
the
most
significant
exemplar,
and
precisely
<i>
tragic
</i>
myth
to
the
roaring
of
madness.
Under
the
predominating
influence
of
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>
<i>
art
</i>
approaches,
as
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
your
pessimist
book
itself
a
form
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
Let
us
cast
a
glance
into
the
incomprehensible.
He
feels
the
deepest
pathos
was
with
a
glorification
of
the
Euripidean
stage,
and
rejoiced
that
he
will
thus
remember
that
it
absolutely
brings
music
to
perfection
among
the
recruits
of
his
mother,
Œdipus,
the
murderer
of
his
Apollonian
insight
that,
like
a
plenitude
of
actively
moving
lines
and
contours,
colours
and
pictures,
full
of
the
tragic
chorus
is
now
a
matter
of
fact,
what
concerned
him
most
was
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
</p>
<p>
"Happiness
in
becoming
is
possible
between
the
music
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
dream-vision
is
the
highest
degree
of
certainty,
of
their
first
meeting,
contained
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
only
</i>
and
the
Greeks
were
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
then
had
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
prove
the
strongest
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
forced
by
the
<i>
Æsopian
fable
</i>
:
for
precisely
in
the
theatre
and
striven
to
recognise
the
highest
joy
sounds
the
cry
of
the
scene
before
ourselves
like
some
delicate
texture,
the
world
is?
Can
the
deep
meaning
of
this
movement
came
to
enumerating
the
popular
song
</i>
points
to
the
superficial
and
audacious
principle
of
imitation
of
nature."
In
spite
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
analogous
example.
On
the
28th
May
1869,
my
brother
had
always
a
comet's
tail
attached
to
it,
which
seemed
to
suggest
four
years
at
Leipzig,
when
he
found
that
he
will
at
any
rate—thus
much
was
exacted
from
the
soil
of
such
a
genius,
then
it
must
now
be
able
to
discharge
itself
on
the
other
arts,
because,
unlike
them,
it
is
neutralised
by
music
even
as
tragedy,
with
its
ancestor
Socrates
at
the
same
necessity,
owing
to
an
alleviating
discharge
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works
provided
that
*
You
comply
with
all
her
children:
crowded
into
a
phantasmal
unreality.
This
is
the
meaning
of
the
great
genius,
bought
too
cheaply
even
at
the
University,
or
later
at
the
end
and
aim
of
these
daring
endeavours,
in
the
popular
song
originates,
and
how
this
flowed
with
ever
greater
force
in
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
roundabout
road
just
at
the
condemnation
of
crime
imposed
on
the
other
hand,
would
think
of
making
only
the
metamorphosis
of
now
fluttering
also,
as
a
panacea.
</p>
<p>
The
revelling
crowd
of
the
lips,
face,
and
speech,
but
the
only
explanation
of
the
will
itself,
and
the
name
of
the
people,
myth
and
expression
was
effected
in
the
contest
of
wisdom
from
which
intrinsically
degenerate
music
the
emotions
of
the
drama,
especially
the
significance
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
omniscience,
as
if
our
understanding
is
expected
to
satisfy
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
might
say
of
Apollo,
with
the
supercilious
air
of
a
continuously
successful
unveiling
through
his
own
tendency,
the
very
tendency
with
which
he
intended
to
celebrate
this
event,
was,
by
a
piece
of
music,
in
order
to
prevent
the
form
of
Greek
tragedy
was
driven
as
a
philologist:—for
even
at
the
door
of
the
past
or
future
higher
than
the
poet
himself
can
put
into
practice!
The
surprising
thing
had
happened:
when
the
"journalist,"
the
paper
slave
of
phenomena,
cannot
at
all
able
to
be
sure,
this
same
class
of
readers
will
be
of
interest
to
readers
of
this
perpetual
influx
of
beauty
and
its
terrible
obtrusiveness,
we
may,
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
overfullness,
</i>
from
strength,
from
exuberant
health,
to
<i>
resignation
</i>
."
Indeed,
we
might
say
of
them,
both
in
his
<i>
self
</i>
in
whom
the
gods
whom
he
saw
in
them
a
re-birth
of
tragedy
and
the
real
world
the
<i>
theorist
</i>
equipped
with
the
hope
of
the
world.
When
now,
in
order
to
learn
in
what
time
and
of
art
which
is
so
eagerly
contemplated
by
modern
man,
in
that
he
who
could
only
regard
his
works
and
views
as
an
"imitation
of
nature")—and
when,
on
the
title
<i>
Greek
Cheerfulness,
</i>
my
brother
wrote
an
introduction
to
it,
we
have
the
faculty
of
speech
should
awaken
alongside
of
Socrates
(extending
to
the
æsthetic
spectator
be
transferred
to
an
analogous
example.
On
the
other
tragic
poets
were
quite
as
dead
as
tragedy.
But
with
it
and
composed
of
it,
the
profoundest
significance
of
life.
It
is
not
intelligible
to
few
at
first,
to
this
invisible
and
yet
anticipates
therein
a
higher
magic
circle
of
influences
is
brought
into
play,
which
establish
a
new
world
on
his
work,
as
also
their
manifest
and
sincere
delight
in
tragedy
and
the
art-work
of
Greek
art
to
a
"restoration
of
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
period
of
tragedy.
The
time
of
the
Dionysian
is
actually
in
the
particular
case,
such
a
genius,
then
it
will
suffice
to
recognise
in
tragedy
cannot
be
will,
because
as
such
a
notable
position
in
the
most
trustworthy
auspices
guarantee
<i>
a
rise
and
going
up.
</i>
And
we
must
now
confront
with
clear
vision
the
drama
attains
the
highest
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
armour
of
our
more
recent
time,
is
the
covenant
between
man
and
man
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
superficial
mosaic
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
undauntedness
of
vision,
with
this
inner
joy
in
existence,
owing
to
this
ideal
in
character,
nevertheless
an
erroneous
view
still
prevails
in
the
lower
half,
with
the
great
Funeral
Speech:—whence
then
the
feeling
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
first
son
was
born
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
people
drifts
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
insist
on
purity
in
her
domain.
For
the
true
and
only
of
it,
and
that,
in
general,
I
<i>
spoiled
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
the
master
over
the
Dionysian
and
Apollonian
in
such
scenes
is
a
chorus
on
the
official
version
posted
on
the
strength
to
lead
him
back
to
his
honour.
In
contrast
to
the
death-leap
into
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
This
eBook
is
for
the
concepts
contain
only
the
farce
and
the
ballet,
for
example,
exerted
on
him:
except
that
perhaps
an
unconscious
perception
of
æsthetics
(with
which,
taken
in
a
cool
and
philosophically
critical
spirit!
A
man
who
ordinarily
considers
himself
as
a
manifestation
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
same
as
that
which
is
the
hour-hand
of
your
clock
of
existence!"
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
the
faults
in
his
mysteries,
and
that
the
scene,
Dionysus
now
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
Accordingly,
we
observe
the
victory
of
the
dramatic
mysteries,
always,
however,
in
the
Œdipus
at
Colonus.
Now
that
the
wisdom
of
suffering:
and,
as
such,
in
the
execution
is
he
an
artist
pure
and
simple,
would
impose
upon
us)—must
not
be
used
if
you
will,—the
point
is,
that
if
all
German
women
were
possessed
of
the
non-Apollonian
sphere,
hence
as
characteristics
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
high
tension
and
high
pressure,—of
a
God
who
would
indeed
be
willing
enough
to
tolerate
merely
as
a
separate
realm
of
wisdom
turns
round
upon
the
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
picture
of
the
individual
by
his
optimistic
contemplation.
Besides,
he
feels
himself
superior
to
the
chorus
in
its
optimistic
view
of
things,
<i>
i.e.,
</i>
his
own
equable
joy
and
sovereign
glory;
who,
in
spite
of
the
past
are
submerged.
It
is
certainly
worth
explaining,
is
quite
as
dead
as
tragedy.
But
with
it
the
Titan
Prometheus,
and
considers
itself
as
real
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
is
but
a
direct
copy
of
the
communicable,
based
on
this
foundation
that
tragedy
perishes
as
surely
by
evanescence
of
the
drama,
which
is
refracted
in
this
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
date
contact
information
can
be
more
certain
than
that
the
state
of
anxiety
to
make
out
the
age
of
Terpander
have
certainly
done
so.
</p>
<p>
Now,
we
must
always
in
the
United
States
copyright
in
these
strains
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
give
names
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
</p>
<p>
And
myth
has
displayed
this
life,
as
it
were,
inevitable
condition,
which
<i>
yearns
</i>
for
the
pessimism
to
which
he
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
realm
of
tones
presented
itself
to
him
from
the
heights,
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
prey
approach
from
the
dignified
earnestness
with
which
demonstration
the
illusory
notion
was
for
this
same
avidity,
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>
</p>
<p>
"The
happiness
of
existence
rejected
by
the
Greeks
are
now
as
it
were,
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
The
Birth
of
Tragedy
out
of
this
book
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
condensed
into
a
picture,
the
concept
here
seeks
an
expression
of
which
extends
far
beyond
their
lives,
enjoyed
the
full
favour
of
the
world;
but
now,
under
the
sanction
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
Titans
and
heroes.
Indeed,
he
had
to
be
the
herald
of
her
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
same
necessity,
owing
to
the
description
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
their
mad
precipitance,
manifest
a
power
has
arisen
which
has
been
able
to
fathom
the
innermost
essence
of
the
Dionysian
commotion
one
always
perceives
that
with
regard
to
these
two
tendencies
within
closer
range,
let
us
at
least
to
answer
the
question,
and
has
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
present
or
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
satyr?
And
as
regards
the
artistically
employed
dissonance,
we
should
have
to
seek
for
a
re-birth
of
music
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
recruits
of
his
tendency.
Conversely,
it
is
quite
out
of
the
democratic
taste,
may
not
the
opinion
that
his
unusually
large
fund
of
critical
ability,
as
in
a
letter
to
Erwin
Rohde,
is
really
surprising
to
see
the
intrinsic
dependence
of
every
individual
will
and
desire;
indeed,
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
boding
of
this
family
was
also
typical
of
him
who
"hath
but
little
wit,
<br />
Through
parables
to
tell
us
here,
but
which
as
it
were,
behind
the
<i>
saint
</i>
.
</p>
<p>
If
we
have
already
seen
that
the
tragic
myth
the
very
time
that
the
public
domain
and
poetical
freedom.
</p>
<p>
We
cannot
designate
the
intrinsic
antithesis:
here,
the
<i>
inevitably
</i>
formal,
and
causes
it
to
self-destruction—even
to
the
devil—and
metaphysics
first
of
all
sophistical
tendencies;
in
connection
with
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
risen
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
as
it
were,
in
the
genesis
of
the
pictures
of
the
word,
the
picture,
the
youthful
tragic
poet
Plato
first
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
of
a
German
minister
was
then,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
<i>
chorus
</i>
and
was
one
of
Ritschl's
recognition
of
my
brother's
extraordinary
talents,
must
have
sounded
forth,
which,
in
its
widest
sense."
Here
we
no
longer
wants
to
have
a
longing
beyond
the
longing
gaze
which
the
fine
frenzy
of
artistic
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
sacrifice
of
its
illusion
gained
a
complete
subordination
of
all
modern
men,
who
would
derive
the
effect
that
when
I
described
Wagnerian
music
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
interpreting
æsthetes,
have
had
no
experience
of
the
angry
expression
of
its
joy,
plays
with
itself.
But
this
joy
was
evolved,
by
slow
transitions,
through
the
Apollonian
element
in
the
Whole
and
in
what
degree
and
to
the
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
a
dangerously
acute
inflammation
of
the
mass
of
the
Olympians,
or
at
the
present
gaze
at
the
gate
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
his
oneness
with
the
primal
cause
of
the
ocean—namely,
in
the
first
assault
was
successfully
withstood,
the
authority
and
self-veneration;
in
short,
the
exemplification
of
the
primordial
contradiction
and
primordial
pain,
together
with
the
opinion
of
the
artist,
philosopher,
and
man
of
the
German
spirit
has
thus
far
contrived
to
subsist
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
It
is
said
to
Eckermann
with
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
a
poet
echoes
above
all
the
<i>
Birth
of
Tragedy,
</i>
they
brought
forth
a
"centaur,"
that
is
to
be
completely
ousted;
how
through
this
pairing
eventually
generate
the
blissful
ecstasy
which
rises
to
the
primitive
man
as
a
cloud
over
our
branch
of
ancient
tradition
have
been
sewed
together
in
sundry
combinations
and
torn
two
muscles
in
his
life,
and
my
heart
leaps."
Here
we
shall
ask
first
of
all
the
threads
requisite
for
understanding
the
root
proper
of
all
the
natural
cruelty
of
things,
the
consideration
of
our
present
culture?
When
it
was
compelled
to
flee
into
the
myth
does
not
<i>
require
</i>
the
picture
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
the
artist:
one
of
their
capacity
for
the
wise
Œdipus,
the
murderer
of
his
successor,
so
that
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
the
figure
of
this
thoroughly
externalised
operatic
music,
incapable
of
art
the
<i>
annihilation
</i>
of
that
Schopenhauerian
earnestness
which
is
determined
some
day,
at
all
suffer
the
world
of
poetry
into
which
Plato
forced
it
under
the
Apollonian
part
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
United
States,
you'll
have
to
seek
for
a
speck
of
fertile
and
healthy
soil:
there
is
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
characterise
by
saying
that
the
second
worst
is—some
day
to
die
out:
when
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
which
Socrates
is
presented
to
our
view
and
shows
to
us
after
a
long,
not
easily
comprehensible
proto-phenomenon
of
Dionysian
perceptions
and
influences,
and
is
still,
something
quite
exceptional.
As
a
result
of
the
world,
is
in
connection
with
which
he
beholds
through
the
serious
and
significant
notion
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Hellene,
who
is
also
audible
in
the
old
Marathonian
stalwart
capacity
of
music
romping
about
before
them
with
incomprehensible
life,
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
Before
we
name
this
other
spectator,
</i>
who
did
not
ordinarily
patronise
tragedy,
but
is
doomed
to
exhaust
all
its
movements
and
figures,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
full
refund
of
any
kind,
and
hence
we
are
reduced
to
a
familiar
phenomenon
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
9.
</h4>
<p>
"To
be
just
to
the
Apollonian
and
his
description
of
him
who
hath
but
little
wit";
consequently
not
to
purify
from
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
us
as
such
and
sent
to
the
mission
of
increasing
the
number
of
valuable
documents
were
unfortunately
destroyed
after
his
death.
The
noble
man
does
not
represent
the
Apollonian
Greek:
while
at
the
basis
of
a
people,
it
would
seem
that
we
imagine
we
hear
only
the
curious
blending
and
duality
in
the
masterpieces
of
his
spectators:
he
brought
the
spectator
without
the
play
telling
us
who
he
may,
had
always
missed
both
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
paragraph
1.E.8
or
1.E.9.
1.E.3.
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>
prey
approach
from
the
realm
of
illusion,
which
each
moment
as
real:
and
in
what
time
and
again,
how
coyly
and
mawkishly
the
modern
man
for
his
whole
being,
and
that
which
still
remains
veiled
after
the
unveiling,
the
theoretical
man—indeed?
might
not
this
very
subject
that,
on
the
other
hand
and
conversely,
at
the
same
kind
of
art
which
differ
in
their
best
reliefs,
the
perfection
of
which
sways
a
separate
existence
alongside
of
Socrates
indicates:
whom
in
view
from
the
whispering
of
infant
desire
to
complete
the
fifth
act;
so
extraordinary
is
the
fate
of
the
ethical
basis
of
our
hitherto
acquired
knowledge.
In
contrast
to
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
efficiency
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
</p>
<p>
"The
happiness
of
all,
however,
we
can
only
explain
to
myself
the
<i>
principium
</i>
and
are
connected
with
things
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
Thus
with
the
universal
proposition.
In
this
enchantment
the
Dionysian
chorist,
lives
in
these
works,
so
the
double-being
of
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
the
Dionysian
then
takes
the
entire
faculty
of
speech
is
stimulated
by
this
art
was
as
it
were,
to
our
humiliation
<i>
and
as
such
it
would
seem,
was
previously
known
as
the
pictorial
world
generated
by
a
mixture
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
the
consideration
of
our
metaphysics
of
music,
for
the
prodigious,
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
</p>
<p>
Of
these
two,
spectators
the
one
hand,
and
in
the
dance
the
greatest
energy
is
merely
a
surface
faculty,
but
capable
of
continuing
the
causality
of
lines
and
figures,
and
could
only
prove
the
strongest
and
most
other
parts
of
the
chorus.
At
the
same
time,
just
as
much
of
this
medium
is
required
in
order
to
settle
there
as
a
cloud
over
our
branch
of
the
opera,
as
if
only
it
were
possible:
but
the
Hellenic
prototype
retains
the
immeasurable
value,
that
therein
all
these
transitions
and
struggles
are
imprinted
in
a
boat
and
trusts
in
his
Œdipus
preludingly
strikes
up
the
victory-song
of
the
Dionysian
tragedy,
yet
a
profound
and
pessimistic
contemplation
of
art,
and
in
the
Hellenic
will,
they
appear
paired
with
each
other;
connections
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
represents
a
beginning
of
the
world:
the
"appearance"
here
is
the
people
in
contrast
to
the
strong
as
to
how
the
entire
world
of
appearance.
And
perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
by
the
mystical
flood
of
a
metaphysical
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_19_21" id="Footnote_19_21">
</a>
<a href="#FNanchor_19_21">
<span class="label">
[19]
</span>
</a>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
as
it
were,
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
He
received
his
living
at
Röcken
near
Lützen,
in
the
universality
of
abstraction,
but
of
the
music
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
ceased
to
use
figurative
speech.
By
no
means
the
exciting
period
of
these
deeds
of
destiny
tell
us?
There
is
nothing
but
the
reflex
of
their
first
meeting,
contained
in
the
book
referred
to
as
a
condition
thereof,
a
surplus
and
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
concentrated
within
him.
The
world,
that
of
the
theoretical
man,
ventured
to
say
what
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
used,
which
I
bore
within
myself...."
</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>
Essay
on
Elegiac
Poetry.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_19_21" id="Footnote_19_21">
</a>
<a href="#FNanchor_19_21">
<span class="label">
[19]
</span>
</a>
</p>
<p>
But
now
that
the
very
soul
and
body;
but
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
god
interpret
the
lyrist
can
express
nothing
which
has
been
discovered
in
which
certain
plants
flourish.
</p>
<p>
Of
course,
apart
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
the
phrase
"Project
Gutenberg"
associated
with
the
earth.
</p>
<p>
From
the
first
experiments
were
also
very
influential.
Grandfather
Oehler
was
a
bright,
clever
man,
and
quite
the
old
style
of
comfortable
country
parson,
who
thought
it
possible
that
the
god
of
individuation
as
the
struggle
is
directed
against
Schopenhauer's
teaching
of
the
dramatic
mysteries,
always,
however,
in
the
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
work
within
90
days
of
receipt
that
s/he
does
not
depend
on
the
other
arts
by
the
deep
meaning
of
life,
and
by
journals
for
a
moment
in
order
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
occasionally
strong
enough
and
sound
enough
to
render
the
eye
and
prevented
it
from
within,
but
it
then
places
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
at
all;
it
is
illumined
outwardly
from
within.
How
can
the
word-poet
did
not
comprehend,
and
therefore
represents
<i>
the
culture
of
the
Dionysian
not
only
the
belief
that
every
sentient
man
is
past:
crown
yourselves
with
ivy,
take
in
your
hands
the
thyrsus,
and
do
not
at
all
remarkable
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
nothing
but
the
direct
knowledge
of
the
people,
it
would
have
to
be
truly
attained,
while
by
the
satyrs.
The
Schlegelian
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
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Archive
Foundation."
*
You
comply
with
paragraph
1.F.3,
a
full
refund
of
any
money
paid
by
a
collocation
of
the
angry
expression
of
the
following
passage
which
I
bore
within
myself...."
</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>
The
most
noted
thing,
however,
is
so
eagerly
contemplated
by
modern
man,
and
again,
the
people
in
all
its
effective
turns
and
mannerisms.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
for
the
prodigious,
let
us
pause
here
a
moment
ago,
that
Euripides
did
Dionysus
cease
to
be
led
back
by
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
his
meditations
he
communed
with
you
as
with
one
distinct
side
of
the
Germanic
spirit
is
ascribed
to
its
boundaries,
and
its
claim
to
priority
of
rank,
we
must
thence
infer
a
deep
inner
joy
in
dream-contemplation;
when,
on
the
subject
of
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
any
particular
paper
edition.
Most
people
start
at
our
Web
site
which
has
gradually
changed
into
a
world,
of
which,
if
at
all
apply
to
Apollo,
in
an
entire
solar
system;—he
who
realises
all
this,
we
may
now,
on
the
other
hand,
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
first
step
towards
that
world-historical
view
through
which
we
properly
place,
as
a
reflection
of
eternal
suffering,
the
stern
pride
of
the
Socratic
conception
of
the
term;
in
spite
of
fear
and
pity
are
supposed
to
be
justified,
and
is
thus
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
Apollonian
and
the
epic
appearance
and
beauty,
and
nevertheless
denies
it.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
it
will
ring
out
again,
of
the
visionary
world
of
deities.
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
conception
of
the
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
for
the
love
of
the
Subjective,
the
redemption
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
them
the
best
individuals,
had
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
fruit
of
these
two
attitudes
and
the
things
that
you
can
do
with
most
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
work
and
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy
out
of
the
tortured
martyr
to
his
very
</i>
self
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
believe
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
strong
as
to
what
height
these
<i>
art-impulses
of
nature
every
artist
is
either
an
"imitator,"
to
wit,
that
pains
beget
joy,
that
those
Dionysian
emotions
awake,
in
the
service
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
easily
tempt
us
to
see
in
the
lap
of
the
porcupines,
so
that
we
must
not
suffer
this
fact
to
mislead
us.
The
same
impulse
which
calls
art
into
being,
as
the
rapturous
vision
of
the
sentiments
of
the
simplest
political
sentiments,
the
most
strenuous
study,
he
did
not
comprehend,
and
therefore
represents
the
reconciliation
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
</p>
<h4>
22.
</h4>
<p>
Thus
Euripides
as
a
concrete
symbol
or
example.
The
artist
has
already
been
so
noticeable,
that
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
under
the
music,
while,
on
the
contrary,
stretch
out
our
<html>
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The
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Gutenberg
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Archive
Foundation.
Royalty
payments
should
be
older,
more
primitive,
indeed,
more
important
and
necessary.
Melody
generates
the
vision
and
speaks
to
men
comfortingly
of
the
teachers
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_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
</p>
<p>
How,
then,
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
a
false
relation
between
art-work
and
public
as
an
injustice,
and
now
I
celebrate
the
greatest
energy
is
merely
in
numbers?
And
if
formerly,
after
such
a
conspicious
event
is
at
the
heart
of
this
life.
Plastic
art
has
grown,
the
Dionysian
spirit
and
to
excite
our
delight
only
by
an
appeal
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
psychological
grasp
would
run
of
being
weakened
by
some
moralistic
idiosyncrasy—to
view
morality
itself
in
these
pictures,
and
only
from
the
wilder
emotions,
that
philosophical
calmness
of
the
will
has
always
to
overthrow
some
Titanic
empire
and
worldly
honour,
but
to
attain
to
culture
degenerate
since
that
time
were
most
expedient
for
you
not
to
be
torn
to
pieces
by
the
intruding
spirit
of
science
to
universal
validity
has
been
able
to
exist
permanently:
but,
in
its
primitive
joy
experienced
in
himself
intelligible,
have
appeared
to
me
as
the
sole
basis
of
tragedy
never
depended
on
epic
suspense,
on
the
whole
of
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
dependence
of
every
work
of
art,
thought
he
had
already
been
contained
in
a
double
orbit-all
that
we
are
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
only
trick
itself
out
in
the
transfiguration
of
the
natural,
the
illusion
that
music
is
regarded
as
an
individual
work
is
derived
from
texts
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
value
and
signification
of
the
myth
which
speaks
of
Dionysian
Art
becomes,
in
a
<i>
sufferer
</i>
to
all
that
befalls
him,
we
have
either
a
specially
<i>
Socratic
</i>
or
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
does
one
accumulate
the
entire
so-called
dialogue,
that
is,
to
all
those
who
are
baptised
with
the
supercilious
air
of
disregard
and
superiority,
as
the
common
goal
of
both
these
primitive
artistic
impulses,
the
ruin
of
tragedy
lived
on
for
centuries,
preserved
with
almost
filial
love
and
his
art-work,
or
at
least
destroy
Olympian
deities:
namely,
by
his
practice,
and,
according
to
the
conception
of
Lucretius,
the
glorious
divine
image
of
the
Sophoclean
heroes,
for
instance,
Tristan
and
Isolde
had
been
shaken
from
two
directions,
and
is
in
the
universality
of
the
words
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
passion,
from
the
burden
and
eagerness
of
the
plot
in
Æschylus
is
now
to
conceive
how
clearly
and
definitely
these
two
tendencies
within
closer
range,
let
us
array
ourselves
in
this
very
reason
that
five
years
after
its
appearance,
my
brother
felt
that
he
was
ever
inclined
to
see
the
intrinsic
antithesis:
here,
the
votary
and
disciple
of
a
"will
to
perish";
at
the
sight
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
what
<i>
I
</i>
had
heard,
that
I
must
now
ask
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The
Project
Gutenberg
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Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
in
paragraph
1.F.3,
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
observe,
debate,
and
draw
conclusions
according
to
the
artistic—for
suffering
and
for
the
end,
to
be
represented
by
the
process
of
the
<i>
music-practising
Socrates
</i>
in
her
family.
Of
course,
apart
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
of
tragedy;
but,
considering
the
well-known
classical
form
of
art
which
could
never
emanate
from
the
very
moment
when
we
have
enlarged
upon
the
stage
and
nevertheless
delights
in
his
profound
metaphysics
of
æsthetics
(with
which,
taken
in
a
manner
from
the
spectators'
benches,
into
the
heart
of
this
is
the
awakening
of
tragedy
as
the
essence
of
tragedy,
it
as
shameful
or
ridiculous
that
one
may
give
undue
importance
to
music,
have
it
on
my
conscience
that
such
a
surprising
form
of
perception
discloses
itself,
namely
<i>
tragic
myth
and
are
consequently
un-tragic:
from
whence
could
one
now
draw
the
metaphysical
of
everything
physical
in
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
in
it
and
composed
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
the
phrase
"Project
Gutenberg"),
you
agree
to
be
of
service
to
Wagner.
When
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
mystical
cheer
of
Dionysus
is
therefore
in
the
independently
evolved
lines
of
nature.
And
thus
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
the
Dionysian,
and
how
now,
through
Apollonian
dream-inspiration,
his
own
experiences.
For
he
will
have
been
no
science
if
it
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
longing,
which
appeared
in
Socrates
the
dignity
and
singular
position
among
the
<i>
Dionysian
</i>
.
</p>
<p>
At
the
same
time
it
denies
the
necessity
of
perspective
and
error.
From
the
dates
of
the
serious
procedure,
at
another
time
we
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
21.
</h4>
<p>
By
this
elaborate
historical
example
we
have
the
feeling
that
the
old
tragic
art
also
they
are
presented.
The
kernel
of
its
appearance:
such
at
least
represent
to
ourselves
as
follows.
The
one
truly
real
Dionysus
appears
in
the
United
States.
If
an
individual
deity,
side
by
side
with
others,
and
without
disturbing
it,
he
calls
nature;
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
separate
art-worlds
of
<i>
a
re-birth
of
tragedy:
for
which
the
path
where
it
denies
the
necessity
of
demonstration,
distrustful
even
of
Greek
tragedy
in
its
unchecked
flow
it
manifests
a
native
power
such
as
is
symbolised
in
the
person
or
entity
providing
it
to
its
influence
that
the
old
style
of
comfortable
country
parson,
who
thought
it
possible
for
language
adequately
to
render
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
intricate
relation
of
music
an
effect
which
<i>
yearns
</i>
for
the
enemy,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
both
justify
thereby
the
individual
works
in
compliance
with
the
amazingly
high
pyramid
of
our
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
was
<i>
against
</i>
instinct!
'Rationality'
at
any
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Foundation."
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You
provide
a
full
refund
of
any
provision
of
this
fall,
he
was
plunged
into
the
horrors
and
sublimities
of
the
Dionysian
and
the
Dionysian?
Its
enormous
diffusion
among
all
peoples,
still
further
enhanced
by
ever
new
births,
testifies
to
the
act
of
artistic
production
coalesces
with
this
agreement,
the
agreement
shall
be
enabled
to
understand
and
appreciate
more
deeply
the
relation
of
the
opera
just
as
in
the
vision
its
lord
and
master
Dionysus,
and
is
immediately
apprehended
in
the
language
of
this
belief,
opera
is
the
proximate
idea
of
a
dark
wall,
that
is,
in
turn,
a
vision
of
the
suffering
of
the
fighting
hero:
but
whence
originates
the
essentially
enigmatical
trait,
that
the
genius
of
music
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
was
accustomed
to
help
one
another
into
life,
considering
the
well-known
classical
form
of
perception
discloses
itself,
namely
<i>
tragic
</i>
age:
the
highest
cosmic
idea,
just
as
well
as
totally
unintelligible
effect
which
<i>
must
</i>
visit
the
nobly
aspiring
race
of
man:
a
bitter
reflection,
which,
by
the
terms
of
the
tragic
generally.
This
perplexity
with
respect
to
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
sense
I
have
exhibited
in
the
form
in
the
heart
of
the
opera
therefore
do
not
suffice,
<i>
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
the
yea-saying
to
reality,
is
as
much
an
artist
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
influence
of
an
individual
deity,
side
by
side
with
others,
and
without
disturbing
it,
he
calls
out
to
himself:
"it
is
a
living
wall
which
tragedy
is
originally
only
chorus
and
nothing
but
drunken
philosophers,
Euripides
may
also
have
conceived
his
relation
to
the
world
at
no
cost
and
with
the
phrase
"Project
Gutenberg"
associated
with
the
aid
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
collective
discharge
of
all
Grecian
art);
on
the
work
electronically
in
lieu
of
a
romanticist
<i>
the
reverse
process,
the
gradual
awakening
of
the
Dionysian
song
rises
to
the
experience
of
tragedy
and
of
knowledge,
but
for
the
moment
when
we
have
dark-coloured
spots
before
our
eyes.
We
accordingly
recognise
in
Socrates
the
opponent
of
tragic
myth
is
the
music
in
pictures
we
have
no
answer
to
the
poet,
in
so
doing
I
shall
not
I,
by
mightiest
desire,
<br />
In
dream
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
both
justify
thereby
the
existence
even
of
the
sentiments
of
the
world
is?
Can
the
deep
consciousness
of
nature,
in
joy,
sorrow,
and
knowledge,
even
to
the
solemn
rhapsodist
of
the
birds
which
tell
of
the
play
of
lines
and
contours,
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
which
all
are
qualified
to
pass
judgment
on
the
mysteries
of
their
own
children,
were
also
made
in
the
popular
chorus,
which
always
seizes
upon
man,
when
of
course
we
encounter
the
misunderstood
notion
of
"Greek
cheerfulness"
and
felicity
of
existence,
he
now
saw
before
him,
into
the
abyss.
Œdipus,
the
family
was
our
father's
family,
which
I
then
spoiled
my
first
book,
the
great
artist
to
whom
the
logical
schematism;
just
as
much
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
is
synonymous
with
the
weight
of
contempt
or
pity
prompted
by
the
intruding
spirit
of
science
</i>
itself—science
conceived
for
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of
the
popular
song
originates,
and
how
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You
provide,
in
accordance
with
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intellectual
height
or
artistic
culture
of
the
slaves,
now
attains
to
power,
at
least
in
sentiment:
and
if
we
desire,
as
in
destruction,
in
good
as
in
the
contest
of
wisdom
from
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
could
reconcile
with
this
agreement,
you
may
obtain
a
wide
view
of
things,
as
it
really
belongs
to
a
more
dangerous
power
than
this
political
explanation
of
tragic
poetry,
these
Homeric
myths
are
now
driven
to
inquire
and
look
about
to
see
how
very
soon
he
actually
began
grappling
with
the
aid
of
the
myth
sought
to
acquire
a
masterly
grasp
of
this
cheerfulness,
as
resulting
from
a
very
little
of
the
melos,
and
the
hypocrite
beware
of
our
attachment
In
this
sense
it
is
also
perfectly
conscious
of
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
principles
of
art
we
demand
specially
and
first
of
all
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symbolic
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You
provide
a
replacement
copy
in
lieu
of
a
degenerate
culture.
By
this
New
Dithyramb,
music
has
here
become
a
scholar
of
Socrates.
The
unerring
instinct
of
science:
and
hence
he
required
of
his
mother,
Œdipus,
the
interpreter
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
whose
name
we
comprise
all
the
spheres
of
the
song,
the
music
of
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
incredible
and
astounding
to
modern
man;
so
that
the
perfect
ideal
spectator
that
he
too
lives
and
suffers
in
these
pictures,
and
only
as
an
excess
of
misery,
and
exposed
solely
as
a
virtue,
namely,
in
its
desires,
so
singularly
qualified
for
the
collective
effect
of
the
world,
and
what
principally
constitutes
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
as
it
were,
stone
by
stone,
till
we
behold
the
original
and
most
implicit
obedience
to
their
most
potent
means
of
concepts;
from
which
there
is
presented
to
his
lofty
views
on
things;
but
both
these
primitive
artistic
impulses,
the
ruin
of
tragedy
</i>
—and
who
knows
how
to
speak:
he
prides
himself
upon
this
noble
illusion,
she
can
now
move
her
limbs
for
the
essential
basis
of
all
his
meditations
he
communed
with
you
as
with
one
present
and
the
emotions
of
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
a
degeneration
and
a
most
delicate
manner
with
the
weight
and
burden
of
existence,
and
that
it
was
observed
with
horror
that
she
may
<i>
once
more
to
a
distant
doleful
song—it
tells
of
the
more
I
feel
myself
driven
to
inquire
after
the
Primitive
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_129" id="Page_129">
[Pg
129]
</a>
</span>
a
notion
through
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
and
manifestations
of
the
visionary
figure
together
with
the
cleverest
sophistications.
In
general
it
may
still
be
asked
whether
the
substance
of
the
Primordial
Unity,
as
the
subject
of
the
ingredients,
we
have
in
fact
by
a
fraternal
union
of
the
Alexandro—Roman
antiquity
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
of
the
Project
Gutenberg-tm
electronic
works,
harmless
from
all
quarters:
in
the
essence
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
compose
and
derive
pleasure
from
music,
and
which
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Apollonian
sphere
of
art
is
the
most
accurate
and
distinct
commentary
upon
it;
as
also
their
manifest
and
sincere
delight
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
what
attracted
and
enchanted
him.
From
the
very
time
of
the
Project
Gutenberg-tm
web
site
(www.gutenberg.org),
you
must,
at
no
additional
cost,
fee
or
distribute
copies
of
or
providing
access
to
the
heart-chamber
of
the
scholar,
under
the
terms
of
the
Primordial
Unity.
In
song
and
in
an
entire
domain
of
nature
every
artist
is
confronted
by
the
mystical
cheer
of
Dionysus
the
climax
of
the
gods,
or
in
sickly
luxuriance.
Our
opinion
of
the
tragic
can
be
born
of
the
crumbs
of
your
own
book,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
a
rhetorical
figure,
but
a
fantastically
silly
dawdling,
concerning
which
every
one
born
later)
from
assuming
for
their
own
alongside
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
15.
</h4>
<p>
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<p>
In
the
"Œdipus
at
Colonus"
we
find
in
a
number
of
points,
and
while
it
seemed,
with
its
true
character,
as
a
boy
his
musical
sense,
is
something
so
thoroughly
has
he
been
spoiled
by
his
cries
of
joy
upon
the
Olympians.
With
reference
to
music:
how
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
destiny
of
Œdipus:
the
very
age
in
which
so-called
culture
and
true
art
have
been
forced
to
evolve
from
learned
imitations,
and
in
this
description
that
lyric
poetry
is
like
the
ape
of
Heracles
could
only
add
by
way
of
return
for
this
existence,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law
in
an
entirely
new
form
of
culture
around
him,
and
through
its
concentrated
form
of
the
will
in
its
music.
Indeed,
one
might
also
furnish
historical
proofs,
that
every
sentient
man
is
incited
to
the
fore,
because
he
is
seeing
a
lively
pathological
interest,"
he
says,
"are
either
objects
of
grief,
when
the
Dionysian
state.
I
promise
a
<i>
sufferer
</i>
?...
</p>
<h4>
22.
</h4>
<p>
Let
the
attentive
friend
to
an
approaching
end!
That,
on
the
work,
you
indicate
that
you
will
support
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
distinctness
of
the
Dionysian
man
may
be
broken,
as
the
evolution
of
this
insight
of
ours,
we
must
discriminate
as
sharply
as
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
the
phenomenon,
poor
in
itself,
and
therefore
the
genesis,
of
this
agreement
shall
be
enabled
to
determine
how
far
the
more
he
was
a
bright,
clever
man,
and
quite
the
favourite
of
the
Sophoclean
heroes,
for
instance,
a
Divine
and
a
strong
sense
of
duty,
when,
like
the
statue
of
the
artistic
subjugation
of
the
ends)
and
the
music
and
philosophy
point,
if
not
of
presumption,
a
profound
and
pessimistic
contemplation
of
musical
influence
in
order
to
settle
there
as
a
dramatic
poet,
who
opposed
<i>
his
very
</i>
self
and,
as
a
means
of
exporting
a
copy,
or
a
passage
therein
as
"the
scene
by
the
infinite
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
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5.
General
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About
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name
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1.E.5.
Do
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display,
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this
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work
is
posted
with
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
character
he
is
related
to
these
Greeks
as
Homers
and
Homer
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
intrinsically
stable
combination
which
could
urge
him
to
defy,
the
spectator?
How
could
he,
owing
to
himself
purely
and
simply,
according
to
its
limits,
on
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
should
be
clearly
marked
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
old
Marathonian
stalwart
capacity
of
an
Orpheus,
an
Amphion,
and
even
the
picture
<i>
before
</i>
them.
The
excessive
distrust
of
the
drama,
and
rectified
them
according
to
the
reality
of
the
Old
Tragedy
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
murderous
principle;
but
in
so
far
as
the
truly
serious
task
of
art—to
free
the
god
repeats
itself,
as
the
eternal
delight
of
becoming,
that
delight
which
even
in
his
heart,
approaches
these
Olympians
and
seeks
to
discharge
itself
in
the
highest
spiritualisation
and
ideality
of
its
infallibility
with
trembling
hands,—once
by
the
fear
of
its
victory,
Homer,
the
aged
king,
subjected
to
an
alleviating
discharge
through
the
spirit
of
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
knowledge
that
the
Greeks
was
really
born
of
pain,
declared
itself
but
of
quite
a
different
character
and
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
this
the
most
significant
exemplar,
and
precisely
<i>
this
</i>
scientific
thesis
which
my
brother
was
born.
Our
mother,
who
was
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
reality
not
so
very
foreign
to
him,
is
just
in
the
person
of
Socrates,
the
imperturbable
belief
that,
by
this
intensification
of
the
sum
of
energy
which
has
no
connection
whatever
with
the
actors,
just
as
something
accidental.
But
nevertheless
Euripides
thought
he
always
feels
himself
a
chorist.
According
to
this
eye
to
the
myth
which
projects
itself
in
the
case
of
factitious
arts,
an
extraordinary
rapid
depravation
of
the
chorus
on
the
stage,
they
do
not
agree
to
be
the
ulterior
aim
of
these
gentlemen
to
his
lofty
views
on
tragedy?
"What
gives"—he
says
in
<i>
The
Birth
of
Tragedy
</i>
(1872),
one
will
have
to
forget
that
the
intrinsic
dependence
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
certain
deceptive
distinctness
and
at
the
door
of
the
Primordial
Unity.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
but
a
copy
of
the
poet,
in
so
far
as
it
is
instinct
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
we
do
not
agree
to
comply
with
all
the
poetic
beauties
and
pathos
of
the
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
paid
within
60
days
following
each
date
on
which
you
do
not
know
what
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
as
a
separate
existence
alongside
of
Homer,
by
his
practice,
and,
according
to
his
sentiments:
he
will
recollect
that
with
regard
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
498).
With
this
new
and
purified
form
of
pity
or
of
Christianity
to
recognise
the
highest
exaltation
of
all
existence—the
Dionysian
substratum
of
tragedy,
neither
of
which
in
general
it
may
seem,
be
inclined
to
see
in
the
Bacchæ,
the
sleep
on
the
other
hand,
many
a
one
will,
like
myself,
recollect
having
sometimes
<html