"To be just to the Birth of Tragedy(1872), one will have to forget some few things. It has wrought3 effects, it even fascinated through that wherein it was amiss—through its application to Wagnerism, just as if this Wagnerism were symptomatic of a rise and going up. And just on that account was the book an event in Wagner's life: from thence and only from thence were great hopes linked to the name of Wagner. Even to-day people remind me, sometimes right in the midst of a talk on Parsifal, that I and none other have it on my conscience that such a high opinion of the cultural value of this movement came to the top. More than once have I found the book referred to as 'the Re-birth of Tragedy out of the Spirit of Music': one only had an ear for a new formula of Wagner's art, aim, task,—and failed to hear[Pg 190] withal what was at bottom valuable therein. 'Hellenism and Pessimism4' had been a more unequivocal title: namely, as a first lesson on the way in which the Greeks got the better of pessimism,—on the means whereby they overcame it. Tragedy simply proves that the Greeks were no pessimists5: Schopenhauer was mistaken here as he was mistaken in all other things. Considered with some neutrality, the Birth of Tragedy appears very unseasonable: one would not even dream that it was begun amid the thunders of the battle of W?rth. I thought these problems through and through before the walls of Metz in cold September nights, in the midst of the work of nursing the sick; one might even believe the book to be fifty years older. It is politically indifferent—un-German one will say to-day,—it smells shockingly Hegelian, in but a few formul? does it scent6 of Schopenhauer's funereal7 perfume. An 'idea'—the antithesis8 of 'Dionysian versus9 Apollonian'—translated into metaphysics; history itself as the evolution of this 'idea'; the antithesis dissolved into oneness in Tragedy; through this optics things that had never yet looked into one another's face, confronted of a sudden, and illumined and comprehended through one another: for instance, Opera and Revolution. The two decisive innovations of the book are, on the one hand, the comprehension of the Dionysian phenomenon among the Greeks (it gives the first psychology10 thereof, it sees therein the One root of all Grecian art); on the other, the comprehension of Socratism: Socrates diagnosed for the first time as the tool[Pg 191] of Grecian dissolution, as a typical decadent11. 'Rationality' against instinct! 'Rationality' at any price as a dangerous, as a life-undermining force! Throughout the whole book a deep hostile silence on Christianity: it is neither Apollonian nor Dionysian; it negatives all ?sthetic values (the only values recognised by the Birth of Tragedy), it is in the widest sense nihilistic, whereas in the Dionysian symbol the utmost limit of affirmation is reached. Once or twice the Christian12 priests are alluded13 to as a 'malignant14 kind of dwarfs,' as 'subterraneans.'"
2.
"This beginning is singular beyond measure. I had for my own inmost experience discovered the only symbol and counterpart of history,—I had just thereby16 been the first to grasp the wonderful phenomenon of the Dionysian. And again, through my diagnosing Socrates as a decadent, I had given a wholly unequivocal proof of how little risk the trustworthiness of my psychological grasp would run of being weakened by some moralistic idiosyncrasy—to view morality itself as a symptom of decadence17 is an innovation, a novelty of the first rank in the history of knowledge. How far I had leaped in either case beyond the smug shallow-pate-gossip of optimism contra pessimism! I was the first to see the intrinsic antithesis: here, the degenerating18 instinct which, with subterranean15 vindictiveness19, turns against life (Christianity, the philosophy of Schopenhauer, in a certain sense already the philosophy of Plato, all idealistic[Pg 192] systems as typical forms), and there, a formula of highest affirmation, born of fullness and overfullness, a yea-saying without reserve to suffering's self, to guilt's self, to all that is questionable20 and strange in existence itself. This final, cheerfullest, exuberantly21 mad-and-merriest Yea to life is not only the highest insight, it is also the deepest, it is that which is most rigorously confirmed and upheld by truth and science. Naught22 that is, is to be deducted23, naught is dispensable; the phases of existence rejected by the Christians24 and other nihilists are even of an infinitely25 higher order in the hierarchy26 of values than that which the instinct of decadence sanctions, yea durst sanction. To comprehend this courage is needed, and, as a condition thereof, a surplus of strength: for precisely27 in degree as courage dares to thrust forward, precisely according to the measure of strength, does one approach truth. Perception, the yea-saying to reality, is as much a necessity to the strong as to the weak, under the inspiration of weakness, cowardly shrinking, and flight from reality—the 'ideal.' ... They are not free to perceive: the decadents28 have need of the lie,—it is one of their conditions of self-preservation. Whoso not only comprehends the word Dionysian, but also grasps his self in this word, requires no refutation of Plato or of Christianity or of Schopenhauer—he smells the putrefaction29."
3.
"To what extent I had just thereby found the concept 'tragic30,' the definitive31 perception of the [Pg 193] psychology of tragedy, I have but lately stated in the Twilight32 of the Idols33, page 139 (1st edit.): 'The affirmation of life, even in its most unfamiliar34 and severe problems, the will to life, enjoying its own inexhaustibility in the sacrifice of its highest types,—that is what I called Dionysian, that is what I divined as the bridge to a psychology of the tragic poet. Not in order to get rid of terror and pity, not to purify from a dangerous passion by its vehement35 discharge (it was thus that Aristotle misunderstood it); but, beyond terror and pity, to realise in fact the eternal delight of becoming, that delight which even involves in itself the joy of annihilating36![1] In this sense I have the right to understand myself to be the first tragic philosopher—that is, the utmost antithesis and antipode to a pessimistic philosopher. Prior to myself there is no such translation of the Dionysian into the philosophic37 pathos38: there lacks the tragic wisdom,—I have sought in vain for an indication thereof even among the great Greeks of philosophy, the thinkers of the two centuries before Socrates. A doubt still possessed39 me as touching40 Heraclitus, in whose proximity41 I in general begin to feel warmer and better than anywhere else. The affirmation of transiency and annihilation, to wit the decisive factor in a Dionysian philosophy, the yea-saying to antithesis and war, to becoming, with radical42 rejection43 even of the concept 'being,'—that I must directly acknowledge as, of all thinking hitherto, the nearest to my own. The doctrine44 of[Pg 194] 'eternal recurrence,' that is, of the unconditioned and infinitely repeated cycle of all things—this doctrine of Zarathustra's might after all have been already taught by Heraclitus. At any rate the portico[2] which inherited well-nigh all its fundamental conceptions from Heraclitus, shows traces thereof."
Facsimile of Nietzsches handwriting.
4.
"In this book speaks a prodigious45 hope. In fine, I see no reason whatever for taking back my hope of a Dionysian future for music. Let us cast a glance a century ahead, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life which will take in hand the greatest of all tasks, the upbreeding of mankind to something higher,—add thereto the relentless46 annihilation of all things degenerating and parasitic47, will again make possible on earth that too-much of life, from which there also must needs grow again the Dionysian state. I promise a tragic age: the highest art in the yea-saying to life, tragedy, will be born anew, when mankind have behind them the consciousness of the hardest but most necessary wars, without suffering therefrom. A psychologist might still add that what I heard in my younger years in Wagnerian music had in general naught to do with Wagner; that when I described Wagnerian music I described what I had heard, that I had instinctively48 to translate and transfigure all into the new spirit which I bore within myself...."
The End
The End
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1 insanity | |
n.疯狂,精神错乱;极端的愚蠢,荒唐 | |
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2 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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3 wrought | |
v.引起;以…原料制作;运转;adj.制造的 | |
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4 pessimism | |
n.悲观者,悲观主义者,厌世者 | |
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5 pessimists | |
n.悲观主义者( pessimist的名词复数 ) | |
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6 scent | |
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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7 funereal | |
adj.悲哀的;送葬的 | |
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8 antithesis | |
n.对立;相对 | |
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9 versus | |
prep.以…为对手,对;与…相比之下 | |
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10 psychology | |
n.心理,心理学,心理状态 | |
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11 decadent | |
adj.颓废的,衰落的,堕落的 | |
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12 Christian | |
adj.基督教徒的;n.基督教徒 | |
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13 alluded | |
提及,暗指( allude的过去式和过去分词 ) | |
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14 malignant | |
adj.恶性的,致命的;恶意的,恶毒的 | |
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15 subterranean | |
adj.地下的,地表下的 | |
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16 thereby | |
adv.因此,从而 | |
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17 decadence | |
n.衰落,颓废 | |
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18 degenerating | |
衰退,堕落,退化( degenerate的现在分词 ) | |
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19 vindictiveness | |
恶毒;怀恨在心 | |
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20 questionable | |
adj.可疑的,有问题的 | |
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21 exuberantly | |
adv.兴高采烈地,活跃地,愉快地 | |
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22 naught | |
n.无,零 [=nought] | |
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23 deducted | |
v.扣除,减去( deduct的过去式和过去分词 ) | |
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24 Christians | |
n.基督教徒( Christian的名词复数 ) | |
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25 infinitely | |
adv.无限地,无穷地 | |
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26 hierarchy | |
n.等级制度;统治集团,领导层 | |
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27 precisely | |
adv.恰好,正好,精确地,细致地 | |
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28 decadents | |
n.颓废派艺术家(decadent的复数形式) | |
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29 putrefaction | |
n.腐坏,腐败 | |
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30 tragic | |
adj.悲剧的,悲剧性的,悲惨的 | |
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31 definitive | |
adj.确切的,权威性的;最后的,决定性的 | |
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32 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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33 idols | |
偶像( idol的名词复数 ); 受崇拜的人或物; 受到热爱和崇拜的人或物; 神像 | |
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34 unfamiliar | |
adj.陌生的,不熟悉的 | |
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35 vehement | |
adj.感情强烈的;热烈的;(人)有强烈感情的 | |
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36 annihilating | |
v.(彻底)消灭( annihilate的现在分词 );使无效;废止;彻底击溃 | |
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37 philosophic | |
adj.哲学的,贤明的 | |
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38 pathos | |
n.哀婉,悲怆 | |
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39 possessed | |
adj.疯狂的;拥有的,占有的 | |
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40 touching | |
adj.动人的,使人感伤的 | |
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41 proximity | |
n.接近,邻近 | |
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42 radical | |
n.激进份子,原子团,根号;adj.根本的,激进的,彻底的 | |
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43 rejection | |
n.拒绝,被拒,抛弃,被弃 | |
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44 doctrine | |
n.教义;主义;学说 | |
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45 prodigious | |
adj.惊人的,奇妙的;异常的;巨大的;庞大的 | |
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46 relentless | |
adj.残酷的,不留情的,无怜悯心的 | |
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47 parasitic | |
adj.寄生的 | |
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48 instinctively | |
adv.本能地 | |
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