The Birth of Tragedy: Out of the Spirit of Music (Penguin Classics)

by Friedrich Nietzsche and F.W. Nietzsche

Book Overview

The first book by the author of the classic philosophical text Beyond Good and Evil. The youthful faults of this work were exposed by the author himself in the brilliant Attempt at a Self-Criticism,... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0140433392
• Release Date: January 1994
• Publisher: Penguin Classics
• Length: 160 Pages
• Weight: 0.33 lbs.
• Dimensions: 7.7" x 0.4" x 5.1"

Customer Reviews

Existence and the world seem justified only as an aesthetic phenomenon

F. Nietzsche expresses in a raging and delirious style loudly his vision on life, through his interpretation of the Attic tragedy and its history. He exposes himself as an anti-rational, anti-scientific, amoral romanticist, for whom art is the only truly metaphysical activity of man. Apollo v. Dionysus The gods Apollo and Dionysus represent two completely antagonistic lifestyles. The Apollinian one stands for measured restraint and freedom from wild emotions. It is based on the principium individuationis (the individual). Its main art form is sculpture; in literature the epic form (Homeros). The Dionysian one stands for ecstasy, intoxication, orgiastic frenzy, sexual licentiousness, savage natural instincts. It is the life of the bearded satyr, a symbol of the sexual omnipotence of nature, of the abolition of the individual man. Its art form is music, song and dance; in literature, it is the poetry of an Archilochus with its cries of hatred and scorn, with his drunken outburst of desire. Socrates For Nietzsche, Socrates has the profound illusion that thought, using the thread of causality, can penetrate the deepest abyss of being. He is guided by the instinct of science, which for Nietzsche is a chain for humanity. Socrates stands for morality with its dictum: `knowledge is virtue; man sins only from ignorance; he who is virtuous is happy.' Socratism stands for morality, for `the anarchical dissolution of the instincts.' The Attic tragedy For Nietzsche, the Attic tragedy is born out of the Dionysian. It arose from the tragic chorus, the mirror image in which the Dionysian man contemplated himself. It was a chorus of natural beings who were (are) living ineradicably behind all civilization. It represents the rapture of the Dionysian state. The choral parts gave birth to a dialogue. Drama began with the attempt to show the god in real. The earliest forms of the Greek tragedy had the sufferings of the tragic hero, Dionysus, (the agony of individuation) as sole theme. The decline began with Sophocles who portrays complete characters and the Attic tragedy ended with Euripides, who draws prominent individual traits of character. Euripides is the exponent of the degenerate culture of Socratism and its morality. For him, `to be beautiful, everything must be conscious.' Only after the spirit of science and its claim to universal validity is destroyed may we hope for a rebirth of tragedy. Art, Hellenism and pessimism The Hellene lost his Dionysian instincts. He became an individual confronted with the horror and absurdity of life. But art was (is) a saving sorceress. She alone knew (knows) how to turn the nauseous thoughts about life into the sublime which tamed the horrible and into the comic which discharged absurdity. Of course, this book is not Nietzsche's best one. It constitutes a highly personal interpretation of the Greek tragedy. But, its overall vision of art as the savior and the solace of the ex-Dionysians will strongly appeal to many. Not

The celebration of Irrational Energy

Prior to Nietzsche the Greeks had been celebrated for their great calm and rationality. Nietzsche pointed to the irrational,passionate , energetic elements, the Dionysian force which contended with life and death as central element of the Greek Reality. The 'Birth of Tragedy (1872) is his first book but already present are his tremendous power to shock, his aphoristic brilliance, his effort to ' turn the tables' and break the mold of our ordinary thinking. He himself says in describing the Birth of Tragedy" connects us with that which counters the Periclean desire for the beautiful and the good. He sees a desire preceding the desire for the good and the beautiful, " namely, the desire for the ugly or the good strong willing of the ancient Hellenes for pessimism, for tragic myth, for pictures of everything fearful, angry, enigmatic, destructive, and fateful as the basis of existence? Where must tragedy come from? Perhaps out of desire, out of power, out of overflowing health, out of overwhelming fullness of life?" In his enthusiasm Nietzsche condemns the Socratic caution which will come afterwards,and which he claims will come to dominate the thought of the Christian West.

Excellent

The ideas of Friedrich Nietzsche has had considerable influence on much of twentieth century philosophy and other areas as well. Indeed, the modern dance technique of Doris Humphrey is one of the many, and was taken to be based on his distinction between the Apollinian and Dionysian duality. Walter Kaufmann, the translator and commentator of this book, has given the reader a distinct view of Nietzsche in two of his works, the "Birth of Tragedy" being his first, and one of his last, "The Case of Wagner". Nietzsche was one of the few philosophers who engaged in self-criticism, and is the most honest of all philosophers who took to the pen. This is indeed manifest in his "Attempt at a Self-Criticism", which was added to the 1886 edition of "The Birth of Tragedy". Nietzsche attempted to view the nature of truth without any masks, and his need to do this resulted in his works perhaps being more of a dialog with himself than with his readers. With every line written, Nietzsche was making sure that he himself was convinced of what was put down on paper. But this must at all times be done without "arresting the play" and negating the "terrors of existence". Kaufmann represents "The Birth of Tragedy" as a work that allowed Nietzsche to justify his appointment to a full chair of philology at the young age of 25, but also a book that would not appeal to anyone in German academic circles. It would appear that Nietzsche was determined to remain independent, and not become intoxicated with the "prestige" of being appointed to such a position at such an early age. Nietzsche's later criticism of his own work would seem to justify this interpretation. This total intellectual honesty of Nietzsche is unique in the history of philosophy. What is most valuable about "The Birth of Tragedy" is its restatement of Greek life and culture, which up to Nietzsche's time was conceived in terms of the "Winckelmann view" according to Kaufmann. The "noble simplicity, calm grandeur" of Goethe and the "sweetness and light" of Matthew Arnold were the appropriate adjectives for Greek culture. But Nietzsche brought in the Dionysian festivals, as another aspect of it, and its longing, in the words of Kaufmann, to "exceed all norms". This insight of Nietzsche has wide-ranging applications, for it points to the need of all cultures, and thus all individuals, to at times attend the Dionysian festival and get out of equilibrium, remain for awhile off-balance, and get intoxicated with the dance of unreason. But with intellectual honesty towards oneself comes the same for others, and Nietzsche did not hesitate to depart with friends when there was conflict with this honesty. Thus Nietzsche wrote "The Case of Wagner", a very damning indictment against his former friend Richard Wagner, and a book which Nietzsche subtitled "A Musician's Problem". Nietzsche describes his reasons for writing at it as a consequence of a "special self-discipline: to take sides against everything sick in me". T

Veritas

Nietzsche's writing style when viewed, as art is itself a remarkable example, par excellence, of the very topic he discusses-in The Birth of Tragedy-put into practice. It is ubiquitously bursting forth with such abundance (Dionysian)-yet streamlined by the infinite depth of his perceptions (Socratic)-that he illuminates the art of the entire Greek Civilization with elegant simplicity, compassion, and courage (Apollonian). Nietzsche was one of the first to analyze Greek art in terms of its psychological ramifications-both conscious and unconscious. He posits that the two driving forces for art-whether it was painting, sculpture, music, or tragedy- required a mixture of the gods, Dionysus (Pan) and Apollo, whose virtues were synonymous with nature, but nearly bipolar. Apollo, the Delphic god, requires self-knowledge and demands that his disciples exorcize prudence in action; however, Dionysus demands complete abandon and excess. One cannot exist without the other: Apollo, though despising all misery and barbaric acts, knew that his existence depended upon that of Dionysus.According to Nietzsche, Art stems directly from nature; it is not an imitation or reflection; therefore, the artist must commune with the gods and nature in order to render any art as such. The artist desires art to be 'the unvarnished expression of the truth' of the world; hence, Art is eternal universal truth. Art should achieve a fusion between the subjective and objective, hence, the artistic creation is 'like the weird image of the fairy tale which can turn its eyes at will and behold itself'. Dionysus is the primordial artistic power that conjures the entire universe into being. It is a communal or collective consciousness, which exists in every individual just as every individual, exists in Dionysus. There is a complete absence of duality between individual and collective consciousness, hence, the individual transcends the limits of existence and becomes one with the collective mind who speaks with one voice-Art. Dionysus reveals the true nature of life as 'bliss born of pain'. Nature communicates its wisdom through the agency of pathos; it wishes to share its suffering and some of the truths in the world. The paragon of Greek art is the tragedy. Tragedy takes place where Apollo and Dionysus have entwined perfectly forming a hybrid braid. The Dionysian Satyr is the incarnation of tragedy and exists within the realm of the gods as myth and cult. Tragedy transforms one into a Satyr. It is sudden and powerful: the Satyr dominated the "man of culture", 'like lamplight is nullified by the light of day'. This caused the tragedy to lead one back to the primal core of nature where one may stare boldly, directly into the destructiveness and cruelty of nature, which imbues one with such profound insight into the horrendous truth, that one is smitten listless with the absurdity of all worldly existence. True knowledge negates existence and the will to act-one asks, what good would it

The Dialectic model of Art

Since the only other review is fairly obtuse about this book, it seems necessary to write another. If you consider yourself a creative entity, an artist, a musician, a filmmaker, a writer; then this book should be required reading. It describes two opposing "forces", Apollo and Dionysus, who are in perpetual conflict. From this conflict, all great art is born. It is a dialectic, Thesis meets Antithesis to beget Synthesis. The real point is though, after reading the book, you look for these opposing forces in everyday life and find them everywhere. Man and woman, religion and science, good and evil (for rudimentary examples). After reading the book it was apparent how much of this world is constructed out of, and centered on, opposition. It's like Matt Modine's helmet in Full Metal Jacket, man is a creature with inherent duality. The Birth of Tragedy touches on something so essential and instinctually true to our existence that it can only vaguely be explained in words. Nietszche knows this and presents the concept as eloquently and clearly as it allows. It is up to the reader to take this knowledge as a starting point and explore deeper into their own individual experience and perspective.