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Dec 31, 2023 · Much that is good and lasting awaits us, if only we learn to embrace the rebirth of tragedy. The genius that resides in the supra‑conscience, which arises directly from the transcendence of the bad conscience, is what Nietzsche denoted with “Übermensch,” and it is what I denote with over‑Self. Boston, October 1, 2023.
The Birth of Tragedy Out of the Spirit of Music (German: Die Geburt der Tragödie aus dem Geiste der Musik) is an 1872 work of dramatic theory by the German philosopher Friedrich Nietzsche. It was reissued in 1886 as The Birth of Tragedy, Or: Hellenism and Pessimism ( German : Die Geburt der Tragödie, Oder: Griechentum und Pessimismus ).
- Friedrich Wilhelm Nietzsche
- 1872
The Birth of Tragedy is divided into twenty-five chapters and a forward. The first fifteen chapters deal with the nature of Greek Tragedy, which Nietzsche claims was born when the Apollonian worldview met the Dionysian. The last ten chapters use the Greek model to understand the state of modern culture, both its decline and its possible rebirth.
Feb 12, 2014 · In telling the story of tragedy’s birth, Nietzsche also provides a postmortem that reveals its murderers. This supreme achievement of Greek culture was destroyed by Socrates, aided and abetted by Euripides. But Nietzsche goes on to prophesy its rebirth, in Germany at least, with the arrival of Wagnerian opera.
- Ruth Abbey
Nietzsche’s core idea in The Birth of Tragedy is that in Greek tragedy, these two artistic forces merge: Apollonian idealism and artistic grandeur fuses with the Dionysian imitation of the chaotic human will. The Apollonian effect rises beyond the heavens in imagination, whilst the Dionysian is tethered to the Earth through passions and ...
The summary follows its original uniformly, section by section (§§), except in the following ways: (i) Nietzsche frequently alludes, without explaining the allusions, to more or less well-known features of Greek tragedy or the Greek world; he gives virtually no dates for artists, thinkers, or events, ancient or modern; and he sometimes makes points that rest, clearly enough, on unstated ...
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The final part of the book is a rhapsody on the rebirth of tragedy from the spirit of Richard Wagner’s music. Greeted by stony silence at first, the book became the object of heated controversy for those who mistook it for a conventional work of classical scholarship. It remains a classic in the history of aesthetics.
