The Birth of Tragedy


Book Description

'Yes, what is Dionysian? - This book provides an answer - "a man who knows" speaks in it, the initiate and disciple of his god.' The Birth of Tragedy (1872) is a book about the origins of Greek tragedy and its relevance to the German culture of its time. For Nietzsche, Greek tragedy is the expression of a culture which has achieved a delicate but powerful balance between Dionysian insight into the chaos and suffering which underlies all existence and the discipline and clarity of rational Apollonian form. In order to promote a return to these values, Nietzsche undertakes a critique of the complacent rationalism of late nineteenth-century German culture and makes an impassioned plea for the regenerative potential of the music of Wagner. In its wide-ranging discussion of the nature of art, science and religion, Nietzsche's argument raises important questions about the problematic nature of cultural origins which are still of concern today. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.




The Birth of Tragedy


Book Description

Nietzsche's first published book, The Birth of Tragedy is a compelling argument for the necessity of art in life This landmark work of criticism is fuelled by Nietzsche's enthusiasms for Greek tragedy, the philosophy of Schopenhauer and the music of Wagner, to whom the book was dedicated. Nietzsche outlined a distinction between two central forces in art: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture. Translated by Shaun Whiteside Edited by Michael Tanner




The Birth of Tragedy


Book Description

In "The Birth of Tragedy from the Spirit of Music," philosopher Friedrich Nietzsche explores the origins of Greek tragedy and its relationship with the human experience. Nietzsche argues that tragedy arises from the interplay between two fundamental forces: the Apollonian, representing order and rationality, and the Dionysian, symbolizing chaos and primordial instincts. By examining the tension between these forces, he reveals how tragedy embodies a balance of emotions and rationality, providing deep insights into the human condition. This groundbreaking work offers readers a unique perspective on the nature of art, culture, and the role of the artist in society.




Nietzsche’s The Birth of Tragedy: From the Spirit of Music


Book Description

"The Birth of Tragedy" stands alongside Aristotle’s "Poetics" as essential works for all who seek to understand poetry and its relationship to human life. In this, his first book, Nietzsche developed a way of thinking about the arts that unites the Greek gods Apollo and Dionysus as the central symbol of human existence. Although tragedy serves as the focus of this work, music, visual art, dance, and the other arts can also be viewed using Nietzsche’s analysis and integration of the Apollonian and the Dionysian. Nietzsche opened the door to philosophy in the 20th century. He anticipated depth psychology, championed myth, attacked literalism in religion and the arts, placed humanity in an evolutionary perspective, and launched a critique of scientism that remains potent in the 21st century. Although he is often linked to the movement known as existentialism, Nietzsche’s overall work defies being placed in any single category.




The Birth of Tragedy


Book Description




The Birth of Tragedy


Book Description




The Birth of Tragedy and The Case of Wagner


Book Description

Two representative and important works in one volume by one of the greatest German philosophers. The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant "Attempt at a Self-Criticism" which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down through the Victorian era, and it sounded themes developed in the twentieth century by classicists, existentialists, psychoanalysts, and others. The Case of Wagner (1888) was one Nietzsche's last books, and his wittiest. In attitude and style it is diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects and deal with art and culture, as well as the problems of the modern age generally. Each book in itself gives us an inadequate idea of its author; together, they furnish a striking image of Nietzsche's thought. The distinguished translations by Walter Kaufmann superbly reflect in English Nietzsche's idiom and the vitality of his style. Professor Kaufmann has also furnished running footnote commentaries, relevant passages from Nietzsche's correspondence, a bibliography, and, for the first time in any edition, an extensive index to each book.




The Birth of Tragedy


Book Description

A philosophical work by the famous German philosopher, scholar, philologist, poet and cultural critic Friedrich Wilhelm Nietzsche, 'The Birth of Tragedy' was first published in the year 1872.




The Birth of Tragedy (Illustrated)


Book Description

Passionate about the Music of Richard Wagner, the philosophy of Schopenhauer, and Greek tragedy, he conflated all three topics to get to the roots of music through ancient Greek tragedy. The main theme is the opposition of the gods Apollo and Dionysus, as representatives of order and chaos, respectively. Through reason and the primordial human instincts, he was convinced the rapt of music, ecstasies, and the sublime could be perceived.