Birth of Tragedy

Topics: The Birth of Tragedy, Dionysus, Apollonian and Dionysian Pages: 116 (48383 words) Published: April 3, 2013
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Friedrich Nietzsche
The Birth of Tragedy
An Attempt at Self-Criticism
[Note that this first section of the Birth of Tragedy was added to the book many years after it first appeared, as the text makes clear. Nietzsche wrote this "Attempt at Self-Criticism" in 1886. The original text,  written in 1870-71, begins with the Preface to Richard Wagner, the second major section] Whatever might have been be the basis for this dubious book, it must have been a question of the utmost importance and charm, as well as a deeply personal one. Testimony to that effect is the time in which it arose (in spite of which it arose), that disturbing era of the Franco-Prussian war of 1870-71. While the thunderclap of the Battle of Worth was reverberating across Europe, the meditative lover of enigmas whose lot it was to father this book sat somewhere in a corner of the Alps, extremely reflective and perplexed (thus simultaneously very distressed and carefree) and wrote down his thoughts concerning the Greeks, the kernel of that odd and difficult book to which this later preface (or postscript) should be dedicated.  A few weeks after that, he found himself under the walls of Metz, still not yet free of the question mark which he had set down beside the alleged "serenity" of the Greeks and of Greek culture, until, in that month of the deepest tension, as peace was being negotiated in Versailles, he finally came to peace with himself and, while slowly recovering from an illness he'd brought back home with him from the field, finished composing the Birth of Tragedy out of the Spirit of Music. —From music? Music and tragedy? The Greeks and the Music of Tragedy? The Greeks and the art work of pessimism? The most successful, most beautiful, most envied people, those with the most encouraging style of life—the Greeks? How can this be? Did they really need tragedy? Even more to the point, did they really need art? And Greek art, what is that, and how did it come about? One can guess from all this just where the great question mark about the worth of existence was placed. Is pessimism necessarily the sign of collapse, destruction, and disaster, of the exhausted and enfeebled instinct, as it was among the Indians, as it is now, to all appearances, among us "modern" peoples and Europeans? Is there a pessimism of the strong? An intellectual inclination for what in existence is hard, dreadful, angry, and problematic; emerging from what is healthy, from overflowing well being, from living existence to the full? Is there perhaps a way of suffering from the very fullness of life, a tempting courage of the keenest sight which demands what is terrible, like an enemy—a worthy enemy—against which it can test its power, from which it will learn what "to fear" means? What does the tragic myth mean precisely for the Greeks of the best, strongest, and bravest age? What about that tremendous phenomenon of the Dionysian? And what about what was born out of the Dionysian—the tragedy? By contrast, what are we to make of what killed tragedy—Socratic morality, dialectic, the satisfaction and serenity of the theoretical man? Could not this very Socratic way be a sign of collapse, exhaustion, sickness, and the dissolution of the anarchic instinct? And could the "Greek serenity" of later Greek periods be only a red sunset? Could the Epicurean will hostile to pessimism be merely the prudence of a suffering man? And even scientific enquiry itself, our science—indeed, what does all scientific enquiry in general mean considered as a symptom of life? What is the point of all that science and, even more serious, where did it come from? What about that? Is scientific scholarship perhaps only a fear and an excuse in the face of pessimism, a delicate self-defence against—the Truth? And speaking morally, something like cowardice and falsehood? Speaking unmorally, a clever trick? Oh, Socrates, Socrates, was that perhaps...
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