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

by Friedrich Nietzsche (Author), Michael Tanner (Editor), Shaun Whiteside (Translator) "Whatever it was that prompted this questionable book, it must have been a most important and attractive question, and a deeply personal one..." (more)
Key Phrases: primal suffering, stilo rappresentativo, satyr chorus, Richard Wagner (more...)

Editorial Reviews

Review
(in full The Birth of Tragedy from the Spirit of Music) Book by German philosopher Friedrich Nietzsche, first published in 1872 as Die Geburt der Tragodie aus dem Geiste der Musik. A speculative rather than exegetical work, The Birth of Tragedy examines the origins and development of poetry, specifically Greek tragedy. Nietzsche argues that Greek tragedy arose out of the fusion of what he termed Apollonian and Dionysian elements--the former representing measure, restraint, harmony, and the latter unbridled passion--and that Socratic rationalism and optimism spelled the death of Greek tragedy. The final part of the book is a rhapsody on the rebirth of tragedy from the spirit of 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. -- The Merriam-Webster Encylopedia of Literature

Product Description
A compelling argument for the necessity for art in life, Nietzsche's first book is fuelled by his enthusiasms for Greek tragedy, for the philosophy of Schopenhauer and for the music of Wagner, to whom this work was dedicated. Nietzsche outlined a distinction between its two central forces: 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 and in literary criticism.

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Product Details

• Paperback: 160 pages
• Publisher: Penguin Classics (January 1, 1994)
• Language: English
• ISBN-10: 0140433392
• ISBN-13: 978-0140433395
• Product Dimensions: 7.6 x 5 x 0.6 inches
• Shipping Weight: 4.8 ounces (View shipping rates and policies)
• Average Customer Review: 4.8 out of 5 stars See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #131,136 in Books (See Bestsellers in Books)

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22 of 28 people found the following review helpful:

5.0 out of 5 stars The Dialectic model of Art, January 13, 2000

By	Chris Coulter "dionysiac" (Hollywood, CA USA) - See all my reviews (REAL NAME)

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.

0 of 2 people found the following review helpful:

5.0 out of 5 stars For Nietzsche, art is nothing less then a "life affirming force", December 29, 2008

By	Michael A Neulander "Political Philosophy" (VA) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

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 religion by presenting its absurdities.

Nietzsche's point is that there is something very different about tragedies, they have measured constructions of beauty and form, and Aristotle is very good at pointing that out. Greek tragedys are not chaotic not just wild abandonment, they are beautifully constructed artistic works with plots and characters and story lines. This is often misunderstood, for Nietzsche Greek tragedy is not a purely Dionysian phenomenon. Apollo, the Apollonian religion is equally important to understand tragedy, and in fact, it is the Apollonian part that makes tragedy for Nietzsche not a life of pessimism art form. You could say the Dionysian and Apollonian religions were two powerful forces that are very different from each other. Nietzsche said they had different manifestations and often looked on each other with antagonism. Dionysian religion and Christianity has similarities, the dying God, sacrament of eating and drinking of the body. Nietzsche's tragic hero is done in by faith, for both. Big difference for Christianity is the resurrection. Nietzsche believes that what makes Greek tragedy special is that it is a joining of these two forces, the Apollonian form in representing measured power and the darker undoing power of the Dionysian religion.

Apollo represents form and Dionysus formlessness. Apollonian form is an artistic phenomenon it is not a rational form. Sometimes people read the Apollonian as a rational principle, but they do this because Socrates comes on the scene who represents what Plato wanted. The overcoming of the tragic by way of the conscious reflection and rational principles and so on. The Apollonian is always an artistic sensuous produced form. The Dionysian is the impulse to self-transcendence and by self-transcendence Nietzsche means the Greek word ecstasy, which literally means to stand outside oneself. It would be proper therefore to say that the Dionysian experiences were ecstatic in the literal sense because there was a loss of individualization a loss of self-consciousness and an emersion in these powerful natural forces. Therefore, the whole point of the Dionysian religion was to overcome the self. You can see that eroticism and killing are two forms of dismemberment. Killing is obviously the termination of life, but as every human cultural knows, the power of the erotic has its own kind of dismembering force in that it is a natural force that can easily undue the culture. Sex is always an enemy in some respects, and yet, no sex, no culture. The erotic is a natural force and all cultures have recognized the power of the erotic as a powerfully disintegrating force. It can lead people to abandon all decorum and measure and responsibility. Therefore, sex, birth, and death are the Dionysian religion in a nutshell. Dionysian's would argue no sex no culture, so why not give cultural expression to power of sex. This releases pent up depression. Nietzsche wants to understand tragedy as interdependent, yet the form of the one religion is dependent of the other religion. Dionysian part and Apollonian part are together in tragedy, but with dark theme but no wholly chaotic art form. Tragedy represents reconciling of the two religions. Nietzsche's point is we truly don't understand what tragedy meant to the Greeks. It wasn't simply a dark story of destruction. It had religious connotations.

From this religious cultural analysis, Nietzsche wants to form an art theory. In Nietzsche's "Birth of Tragedy" he sees things in the Greek world having a stimulus of thought starting philosophy. Regeneration of art world, was he thought, found in Richard Wagner's music. Nietzsche is a life philosopher. Nietzsche believes there is some life force tapped into by the creative person. Artists are "touched" by a force. Dionysian religion is a bit of this you lose yourself and are given over to something more powerful like Nietzsche's life force. Creativity has to be a little abnormal or as Nietzsche says dissatisfaction with the normal. Nietzsche argued that philosophy should contain artistic elements. One of the messages of Nietzsche's philosophy is that the problem arose when philosophy came on the scene and tried to organize and govern everything by rational concepts and methods and reflection and categorization and demonstration and logical arguments. That is the reason why Socrates and Plato found tragedy so offensive, so unwieldy and such a stimulation. But then again Nietzsche asks the question, before I get on board with this plan to overcome these terrible forces, I want to know why its so terrible, this is his constant method, which is to ask, prove to me why tragedy has to give way to philosophy. Part of Nietzsche's approach to philosophy itself is that philosophy should contain artistic elements. This is the reason for his writing style, which are elusive and not straightforward argumentations.

Remember, Schopenhauer who influenced Nietzsche's thinking said the ultimate nature of will is this formless chaotic energy, that we strive for meaning that we have here and there but in the end it is all taken away from us and that is the end of it and that is why life is meaningless. However, Nietzsche says the fact that the Greeks had this very same insight but did not turn away from life should not have been a puzzle to Schopenhauer it should have made Schopenhauer question his own argument. Instead, Schopenhauer argued that the Greeks didn't realize the full impact of tragic insight, they were naive. Nietzsche thought Schopenhauer was wrong about tragedy. Schopenhauer thought tragedy was a necessary insight into meaninglessness, which would lead to resignation. That is why the Apollonian is so important for Nietzsche; the Apollonian is what saves the human spirit from disintegration. Therefore, art has this saving power. However, the fact that the Greeks had in one form in tragedy, the two forces of Apollo and Dionysus interests Nietzsche. On the one hand, they recognize the limits of things, in the other hand they delighted in the artistic orientation of this dark story. How can there be pleasure from dark themes in art, in a way Nietzsche is giving his own version of it, for him it is inherently life affirming to actually render the dark in artistic form. There is a difference between coming to the insight that life is meaningless, and then saying that now guides all my thinking and all my dispositions. The very fact of tragedy as an artistic form is life saving element for the Greeks. The curious thing is that the Greeks could enjoy these tragic performances and yet the message was dark.

Therefore, it is important to note that Nietzsche insists that the Apollonian and Dionysian dyad are a characteristic of reality. One by themselves is not real. Form is by itself just an allusion of formal structure; an allusion of formal structure is what so many philosophers wanted, eternal being eternal structures, timeless truths that would be form. Formlessness by itself is too chaotic, no culture, no art, no creativity. Nietzsche was always a philosopher of culture, always pointing to his German culture that he thought needed to be renewed and revived. Nietzsche recognizes the force and reality of wildness, but it is the two together that make human life, the wild, and the cultured, both are unavoidable dualities the Apollonian and Dionysian. Greek tragedy brought them into focus; his philosophy tries to work from that and he says, yes that is how we should see existence.

So poetry and tragedy are both pre-conceptual artforms that start culture, no culture starts with philosophy, conceptual formations and definitions and axioms and truths. Culture begin with religion and art forms and habit and things that are not clarifying with conceptual structure. They have life to them and a culture lives them out. Although he values philosophy as higher form of thinking, he always insists that philosophy can't alienate itself from pre-conceptual world of art, (poetry), which he certainly thought Plato was saying when he wanted to ban poetry. Nietzsche would say there is an infinite relationship between poetry and philosophy and that means that those who might want to distinguish philosophy with having a higher value than just poetry are wrong. He thinks it is wrong that you can have a pure conceptual procedure on the one hand and have anything of deep value or that you can simply have a poetic genre on one hand all by itself. Thinking is important, not just poeticizing. However, Nietzsche argues we must have thinking with poeticizing.

I recommend this work for anyone interested in Nietzschean philosophy, philosophy of art, Greek tragedy, culture, and history.

0 of 2 people found the following review helpful:

4.0 out of 5 stars The celebration of Irrational Energy , November 1, 2005

By	Shalom Freedman "Shalom Freedman" (Jerusalem,Israel) - See all my reviews (TOP 50 REVIEWER)

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.