The Birth of Tragedy & The Genealogy of Morals

by Friedrich Nietzsche

Book Overview

Skillful, sophisticated translations of two of Nietzsche's essential works about the conflict between the moral and aesthetic approaches to life, the impact of Christianity on human values, the... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0385092105
• Release Date: May 1956
• Publisher: Doubleday / Anchor Books
• Length: 306 Pages
• Weight: 0.60 lbs.
• Dimensions: 8.0" x 0.7" x 5.2"

Customer Reviews

For Nietzsche, art is nothing less then a "life affirming force"

I read this book for a graduate seminar on the philosophy of art. Nietzsche's "Birth of Tragedy" and "On The Genealogy of Morality" begin to shape or force the latter character of his thought, which is an affirmation of life. An affirmation of life, even with its tragic character rather than an affirmation of life without tragedy. Nietzsche agrees with Schopenhauer about the nature of reality being dark. He accepts Plato's characterization about tragedy, but affirms tragedy instead of wanting to ban it like Plato argued for in his "Republic." He rejects Aristotle' formalism, Nietzsche rejects Kant's notion of disinterest, and its life denying implications, the whole idea that you have to be disinterested in art is a complete contradiction of the vitality of art. It betrays a kind of life denying implication, if the point of art is to find a zone to turn off ones interests, then why would you think that, that is valuable. Why would someone think that that is a good thing? Nietzsche accepts the idea of genius and like Hegel, although not in the same way as Hegel, Nietzsche elevates art to a high level, by saying that art and reality mirror each other, in that art is a kind of forming formlessness and that is the way reality is. Nietzsche had a big influence on 20th century art. Nietzsche unlike Aristotle insists on a religious component in tragedy, the two main Greek myth currents is Apollo and Dionysus. By associating these two religious sects with tragedy, it is more historically true for Nietzsche. He observes Greek tragedy and Dionysian religion and its character. The image of Greek culture was one of being measured and civilized, however Nietzsche sees the Dionysian religion was dark and violent and irrational as well. Tragedies were performed at Dionysian festivals it is a "nature" based religion, celebrating the cycle of life, both birth and death. The world is like a restaurant, all living things live off other living things. Dionysian rites probably included animal sacrifices, maybe human as well. Dionysus was an unusual deity in Greece; he was the only one to suffer death and to be brought back to life, unlike other Olympian deities. Dionysian religion was very popular in Greece; Apollonian religion was very popular as well. Nietzsche says tragedy has something to do with Dionysius religions dark side. One of the best sources of the Dionysian religion is Euripides in the "Bacchae." There is some question about his intent in writing the "Bacchae." Euripides turns against his Greek tragic tradition by showing the Greeks the absurdities and ironies in their tragic tradition with his plays, which also essentially recommend that Greeks turn away from their form of tragedy. Euripidean heroes are usually rebelling against the state rather than accommodating it. However, the "Bacchae" is an unusual play because it seems to be just the kind of portrayal of the Dionysian religion. It is a tragic satire of Dionysian r

Unpopular Advocacy...

I have to be the sensible voice of dissent on this one: having read the Hollingdale and Kaufmann translations of these books, and although Golffing was no authority par excellance on Nietzsche (but rather a poet--not utterly devoid of perspective), I think this particular pair of translated works has its necessary place among the more respected editions. Yes, it does lack the trademark styles and general passion characteristic of Nietzsche's writings--but only for the initiated reader; this is actually a perfect edition for the rookie, the newbie: it takes the overwhelming aspect away, it eases the fresh reader into the shock and rapidity of the stream of thought, it presents the subject matter in a way that would garner an undergrad or graduate student "props" as a brilliant writer with a universal style. Obviously, as one becomes more attuned to these vibes, they will want to reach for the more difficult readings--not merely to test their comprehension skills, but for personal aesthetics as well, like the feeling of accomplishment. The more seasoned reader knows that Nietzsche is all about personality (he is literary-style, personified) and passion, but they should as well note that our author here is not accessible to everyone the same way (let alone with ease, if at all). I still found substance here, I found a less colorful rendition of thematic scope, I found a "Nietzsche for Beginners"--but why hate on Golffing as a result?; and considering the growing popularity of the author, the latecomers will all have to step through that door in some fashion, and this book does a better than average job of allowing just that.