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The Birth of Tragedy and Other Writings
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The Birth of Tragedy is one of the seminal philosophical works of the modern period. The theories developed in this relatively short text have had a profound influence on the philosophy, literature, music and politics of the twentieth century. This edition presents a new translation by Ronald Speirs and an introduction by Raymond Geuss that sets the work in its historical and philosophical context. The volume also includes two essays on related topics that Nietzsche wrote during the same period.
204 pages, Paperback
First published April 22,1999
This edition
- Format
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204 pages, Paperback
- Published
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April 28, 1999 by Cambridge University Press
- ISBN
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9780521639873
- ASIN
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0521639875
- Language
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English
About the author
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Friedrich Wilhelm Nietzsche was a German classical scholar, philosopher, and critic of culture, who became one of the most influential of all modern thinkers. He began his career as a classical philologist before turning to philosophy. He became the youngest person to hold the Chair of Classical Philology at the University of Basel in 1869 at the age of 24, but resigned in 1879 due to health problems that plagued him most of his life; he completed much of his core writing in the following decade. In 1889, at age 44, he suffered a collapse and afterward a complete loss of his mental faculties, with paralysis and probably vascular dementia. He lived his remaining years in the care of his mother until her death in 1897 and then with his sister Elisabeth Förster-Nietzsche. Nietzsche died in 1900, after experiencing pneumonia and multiple strokes.
Nietzsche's work spans philosophical polemics, poetry, cultural criticism, and fiction while displaying a fondness for aphorism and irony. Prominent elements of his philosophy include his radical critique of truth in favour of perspectivism; a genealogical critique of religion and Christian morality and a related theory of master–slave morality; the aesthetic affirmation of life in response to both the "death of God" and the profound crisis of nihilism; the notion of Apollonian and Dionysian forces; and a characterisation of the human subject as the expression of competing wills, collectively understood as the will to power. He also developed influential concepts such as the Übermensch and his doctrine of eternal return. In his later work, he became increasingly preoccupied with the creative powers of the individual to overcome cultural and moral mores in pursuit of new values and aesthetic health. His body of work touched a wide range of topics, including art, philology, history, music, religion, tragedy, culture, and science, and drew inspiration from Greek tragedy as well as figures such as Zoroaster, Arthur Schopenhauer, Ralph Waldo Emerson, Richard Wagner, Fyodor Dostoevsky, and Johann Wolfgang von Goethe.
After his death, Nietzsche's sister Elisabeth became the curator and editor of his manuscripts. She edited his unpublished writings to fit her German ultranationalist ideology, often contradicting or obfuscating Nietzsche's stated opinions, which were explicitly opposed to antisemitism and nationalism. Through her published editions, Nietzsche's work became associated with fascism and Nazism. 20th-century scholars such as Walter Kaufmann, R.J. Hollingdale, and Georges Bataille defended Nietzsche against this interpretation, and corrected editions of his writings were soon made available. Nietzsche's thought enjoyed renewed popularity in the 1960s and his ideas have since had a profound impact on 20th- and early 21st-century thinkers across philosophy—especially in schools of continental philosophy such as existentialism, postmodernism, and post-structuralism—as well as art, literature, music, poetry, politics, and popular culture.
Nietzsche's work spans philosophical polemics, poetry, cultural criticism, and fiction while displaying a fondness for aphorism and irony. Prominent elements of his philosophy include his radical critique of truth in favour of perspectivism; a genealogical critique of religion and Christian morality and a related theory of master–slave morality; the aesthetic affirmation of life in response to both the "death of God" and the profound crisis of nihilism; the notion of Apollonian and Dionysian forces; and a characterisation of the human subject as the expression of competing wills, collectively understood as the will to power. He also developed influential concepts such as the Übermensch and his doctrine of eternal return. In his later work, he became increasingly preoccupied with the creative powers of the individual to overcome cultural and moral mores in pursuit of new values and aesthetic health. His body of work touched a wide range of topics, including art, philology, history, music, religion, tragedy, culture, and science, and drew inspiration from Greek tragedy as well as figures such as Zoroaster, Arthur Schopenhauer, Ralph Waldo Emerson, Richard Wagner, Fyodor Dostoevsky, and Johann Wolfgang von Goethe.
After his death, Nietzsche's sister Elisabeth became the curator and editor of his manuscripts. She edited his unpublished writings to fit her German ultranationalist ideology, often contradicting or obfuscating Nietzsche's stated opinions, which were explicitly opposed to antisemitism and nationalism. Through her published editions, Nietzsche's work became associated with fascism and Nazism. 20th-century scholars such as Walter Kaufmann, R.J. Hollingdale, and Georges Bataille defended Nietzsche against this interpretation, and corrected editions of his writings were soon made available. Nietzsche's thought enjoyed renewed popularity in the 1960s and his ideas have since had a profound impact on 20th- and early 21st-century thinkers across philosophy—especially in schools of continental philosophy such as existentialism, postmodernism, and post-structuralism—as well as art, literature, music, poetry, politics, and popular culture.
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Rating(4.1 / 5.0, 46 votes)
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46 reviews All reviews
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لمس فلسفه و هنر والای یونان باستان
آدم رو به فکر وا میداره
از نیچه خوندن لذت بردم
آدم رو به فکر وا میداره
از نیچه خوندن لذت بردم
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به نظرم برای شروع نیچه خوانی مناسب هست.
نسبت به آثار دیگهی نیچه قابل فهمتر هست
نسبت به آثار دیگهی نیچه قابل فهمتر هست
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Before I start the review, I just want to say that it felt great to read Nietzsche after a long time!
'Birth of Tragedy,' written in 1871, is Nietzsche's first book, that I think should have been titled 'Rebirth of Tragedy.' It is also a critic of reason, the scientific, the theoretic, and the Socratic; and is an ode to music, specifically Wagner.
Nietzsche wants humanity to be united again and break away from the concept of individualization. For this to happen, the Apollonian and the Dionysian have to merge-which he thinks can be found in folk songs, tragedy, tragic myth, and Wagnerian symphonies. He believes that the Germans are igniting a new art form that comes from the womb of the Dionysian and appears in images from the Apollonian. He considers music to be the highest form of art as it can encompass something beyond worldly appearances-a hidden reality. In the world of images, music appears as Will-inherently unaesthetic, though it is not Will. Music does not need lyrics and images though it can tolerate them. The lyric poet requires passion to have the Will appear in music. The listener of this music feels a metaphysical solace-an elevated omniscience and ability to penetrate to the interior of things.
Nietzsche also makes use of the philosophical concepts from Schopenhauer and Schiller, which would be a precursor for reading this book.
'Birth of Tragedy,' written in 1871, is Nietzsche's first book, that I think should have been titled 'Rebirth of Tragedy.' It is also a critic of reason, the scientific, the theoretic, and the Socratic; and is an ode to music, specifically Wagner.
Nietzsche wants humanity to be united again and break away from the concept of individualization. For this to happen, the Apollonian and the Dionysian have to merge-which he thinks can be found in folk songs, tragedy, tragic myth, and Wagnerian symphonies. He believes that the Germans are igniting a new art form that comes from the womb of the Dionysian and appears in images from the Apollonian. He considers music to be the highest form of art as it can encompass something beyond worldly appearances-a hidden reality. In the world of images, music appears as Will-inherently unaesthetic, though it is not Will. Music does not need lyrics and images though it can tolerate them. The lyric poet requires passion to have the Will appear in music. The listener of this music feels a metaphysical solace-an elevated omniscience and ability to penetrate to the interior of things.
Nietzsche also makes use of the philosophical concepts from Schopenhauer and Schiller, which would be a precursor for reading this book.
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BORING AS FUCK; Not his best work by far, as he himself says:
"I repeat: I find it an impossible book today. I declare that it is badly written, clumsy, embarrassing, with a rage for imagery and confused in its imagery, emotional, here and there sugary to the point of effeminacy, uneven in pace, lacking the will to logical cleanliness, very convinced and therefore to arrogant to prove its assertions, mistrustful even of the propriety of proving things, a book for the initiated...an arrogant and wildly enthusiastic book which, from the outset, shuts itself off from the profanum vulgus of the 'educated' even more from the 'common people', but also one which, as its effect proved and continues to prove, knows well enough how to seek out its fellow-enthusiasts and to entice them on to new, secret paths and places to dance."
That said, there are some interesting notions in the book, just not anything as pivotal as he makes them out to be. Of infinite more interest to me is the included essay "On Truth and Lies in a Non-Moral Sense," which I assume the layman would shrug away based on its title (and their "dislike" of Nietzsche, even though they know nothing of his works except for what they hear from other people, or their liberal history professors).
His next book probably isn't any better, but as too few people seem to realize, it's always better to go to primary sources than to settle for hearsay.
"I repeat: I find it an impossible book today. I declare that it is badly written, clumsy, embarrassing, with a rage for imagery and confused in its imagery, emotional, here and there sugary to the point of effeminacy, uneven in pace, lacking the will to logical cleanliness, very convinced and therefore to arrogant to prove its assertions, mistrustful even of the propriety of proving things, a book for the initiated...an arrogant and wildly enthusiastic book which, from the outset, shuts itself off from the profanum vulgus of the 'educated' even more from the 'common people', but also one which, as its effect proved and continues to prove, knows well enough how to seek out its fellow-enthusiasts and to entice them on to new, secret paths and places to dance."
That said, there are some interesting notions in the book, just not anything as pivotal as he makes them out to be. Of infinite more interest to me is the included essay "On Truth and Lies in a Non-Moral Sense," which I assume the layman would shrug away based on its title (and their "dislike" of Nietzsche, even though they know nothing of his works except for what they hear from other people, or their liberal history professors).
His next book probably isn't any better, but as too few people seem to realize, it's always better to go to primary sources than to settle for hearsay.
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Oh god
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I have never thought that a person can write like this. This writing is full of metaphors and theories. It is prosaic even though it is a translation work. Apollonian and Dionysian elements constitute tragedy together, as the reality is the combination of order and chaos, reason and passion, beauty and primal will. Tragedy does not avoid the cruelty of life by creating delusions like science or morality does. It faces the suffering and the absurdity of life directly.
For Nietzsche, life is full of pain and struggle. Tragedy transforms these unbearable truths into aesthetic experiences. Tragedy reflects the universal human condition—Apollonian and Dionysian characteristics.
The interesting resonance I found in the book is Nietzsche’s description of the theoretical man. He was afraid that the culture of our society will be controlled by theoretical men—the people of learning—instead of the people of culture who truly master art. In today’s world, the people of learning devote themselves to creating AI, which generates the most content of today’s culture, even art itself.
This is what Nietzsche terrified the most. And so am I. AI does not have consciousness and does not understand art. It generates based on its database, which means it cannot create art. Art itself is an innovation, a personal reflection of the world. However, AI does not experience the world like we do. In Nietzsche’s words, AI does not experience the Apollonian and Dionysian characters in life.
For Nietzsche, life is full of pain and struggle. Tragedy transforms these unbearable truths into aesthetic experiences. Tragedy reflects the universal human condition—Apollonian and Dionysian characteristics.
The interesting resonance I found in the book is Nietzsche’s description of the theoretical man. He was afraid that the culture of our society will be controlled by theoretical men—the people of learning—instead of the people of culture who truly master art. In today’s world, the people of learning devote themselves to creating AI, which generates the most content of today’s culture, even art itself.
This is what Nietzsche terrified the most. And so am I. AI does not have consciousness and does not understand art. It generates based on its database, which means it cannot create art. Art itself is an innovation, a personal reflection of the world. However, AI does not experience the world like we do. In Nietzsche’s words, AI does not experience the Apollonian and Dionysian characters in life.
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he may have gone crazy at the end of his life, but the crazies are the genius'! you just gotta crack the codes they subtley encrypt..
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