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Friedrich Nietzsche

The Birth of Tragedy Out of the Spirit of

Music

This translation by Ian Johnston of Vancouver Island University, Nanaimo,

BC, has certain copyrightrestrictions. or information please use

the follo!ing lin"# Copyright. or comments or $uestion please contact Ian Johnston. %ast revised January &''()

minor correction made June &'*&. +printed paperbac" edition of this

translation is available from Richer Resources Publications.

Table of Contents

An Attempt at Self Criticism

Preface to ichard !agner

The Birth of Tragedy

http://www.mala.bc.ca/~johnstoi/copyright.htmmailto:[email protected]:[email protected]://www.richerresourcespublications.com/http://www.richerresourcespublications.com/http://records.viu.ca/~johnstoi/Nietzsche/tragedy_all.htm#criticismhttp://records.viu.ca/~johnstoi/Nietzsche/tragedy_all.htm#wagnerhttp://records.viu.ca/~johnstoi/Nietzsche/tragedy_all.htm#tragedymailto:[email protected]:[email protected]://www.richerresourcespublications.com/http://www.richerresourcespublications.com/http://records.viu.ca/~johnstoi/Nietzsche/tragedy_all.htm#criticismhttp://records.viu.ca/~johnstoi/Nietzsche/tragedy_all.htm#wagnerhttp://records.viu.ca/~johnstoi/Nietzsche/tragedy_all.htm#tragedyhttp://www.mala.bc.ca/~johnstoi/copyright.htm


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Translator"s Note

In the following translation,where Nietzsche uses a foreignphrase this text retains that

phrase and includes an Englishtranslation in square bracketsand italics immediatelyafterwards (forexample, translation-)Explanatory footnotes, usuallyto identify a person named inthe text or the source of aquotation, ha!e been added bythe translator

"or information aboutcopyright, please consult thefollowing link# Copyright$hose readers who would likethis text in %ublisher format, sothat they can print a booklet ofthis translation for themsel!esor their students should consultthe following link# Publisher

#istorical Note

The Birth of Tragedy ,Nietzsche&s 'rst book, waspublished in *+, when he was+ years old and a professor ofclassical philology at asel $hebook had its defenders but, ingeneral, pro!oked a hostilereception in the academiccommunity and a-ected

Nietzsche&s academic career forthe worse .s the openingsection (added in /) makesclear, Nietzsche himself laterhad some importantreser!ations about the book0owe!er, since that time thework has exerted a !eryimportant in1uence on thehistory of 2estern thought,particularly on the

interpretations of 3reekculture It is also a !ital

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introduction to the work of themost pro!ocati!e philosopher of modern times

In later editions part of the titleof the book was changed from45ut of the 6pirit of 7usic8 to40ellenism and %essimism,8 butthe former phrase has remainedthe more common


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The Birth of Tragedy An Attempt at Self$

Criticism%

2hate!er might ha!e been the

basis for this dubious book, itmust ha!e been a question ofthe utmost importance andcharm, as well as a deeplypersonal one at the time9testimony to that e-ect is theperiod in which it arose, in spiteof which it arose, thatdisturbing era of the "ranco:%russian war of *;:* 2hilethe thunderclap of the attle of

2 7usicand tragedy> $he 3reeks andthe 7usic of $ragedy> $he3reeks and the art work ofpessimism> $he most

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successful, most beautiful, mosten!ied people, those with themost encouraging style of life sofar9the 3reeks> 0ow can thisbe> ?id they of all

people need tragedy> E!enmore9art> 2hat for93reekart>

5ne can guess from all this @ustwhere the great question markabout the worth of existencewas placed Ispessimism necessarily the signof collapse, destruction, ofdisaster, of the exhausted and

enfeebled instincts9as it waswith the Indians, as it is now, toall appearances, among us, the4modern8 peoples andEuropeans> Is there apessimism of strength> .nintellectual inclination for whatin existence is hard, dreadful,e!il, problematic, emergingfrom what is healthy, fromo!er1owing well being, from

li!ing existence to the full> Isthere perhaps a way of su-eringfrom the !ery fullness of life> .tempting courage of the keenestsight which demands what isterrible as the enemy, theworthy enemy, against which itcan test its power, from which itwants to learn what 4to fear8means> 2hat does

the tragic myth mean preciselyfor the 3reeks of the best,strongest, and bra!est age>2hat about that tremendousphenomenon of the ?ionysian>% .nd what about what wasborn out of the ?ionysian9thetragedy> .nd by contrast, whatare we to make of what killedtragedy96ocratic morality,dialectic, the satisfaction and

serenity of the theoretical man>% 0ow about that> Aould not

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this !ery6ocratism /o"ratismus- be asign of collapse, exhaustion,sickness, the anarchicdissolution of the instincts> .nd

could the 43reek serenity8 oflater 3reek periods be only ared sunset> Aould theEpicurean willhostileto pessimism be merely theprudence of a su-ering man>% .nd e!en science itself, ourscience 9indeed, what does allscience in general meanconsidered as a symptom oflife> 2hat is the point of all thatscience and, e!en moreserious, !here did it come

from> 2hat about that> Isscienti'c scholarship perhapsonly a fear and an excuse in theface of pessimism> . delicateself:defence against9the Truth>

.nd speaking morally,something like cowardice andfalsehood> 6peaking unmorally,

a cle!er trick>% 5 6ocrates,6ocrates, was thatperhaps your secret> 5 yousecreti!e ironist, was thatperhaps your9irony>9

+

2hat I managed to seize uponat that time, something fearfuland dangerous, was a problemwith horns, not necessarily a

bull exactly, but in any e!enta ne! problemB today I wouldstate that it was the problem ofscience itself 9science for the'rst time grasped asproblematic, as dubious utthat book, in which my youthfulcourage and suspicion thenspoke, what an impossible bookhad to grow out of a task socontrary to the spirit of youthCAreated out of merelypremature, really immature



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personal experiences, which alllay close to the threshold ofsomething communicable, builton the basis of art9for theproblem of science cannot be

understood on the basis ofscience9a book perhaps forartists with analyticaltendencies and a capacity forretrospection (that means forexceptions, a type of artistwhom it is necessary to seek outand whom one ne!er wants tolook for ), full ofpsychological inno!ations andartists& secrets, with an artist&smetaphysics in the background,a youthful work, full of the spiritof youth and the melancholy of

youth, independent, de'antlyself:su-icient, e!en where itseemed to bow down withspecial re!erence to anauthority, in short, a 'rst workalso in e!ery bad sense of theword, aDicted, in spite of the

problem better suited for oldmen, with e!ery fault of youth,abo!e all with its 4excessi!e

!erbiage8 and its 4storm andstress8 5n the other hand,looking back on the success thebook had (especially with thegreat artist to whom itaddressed itself, as if in acon!ersation, that is, withichard 2agner), the

book proved itself 9I mean itwas the sort of book which atany rate was e-ecti!e enoughamong 4the best people of itstime8% "or that reason the book should at this point be handledwith some consideration anddiscretion 0owe!er, I do notwant totally to hide howunpleasant the book seems tome now, how strangely aftersixteen years it stands there infront of me9in front of an older

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man, a hundred times morediscriminating, but with eyeswhich ha!e not grown colder inthe slightest and which ha!ethemsel!es not become

estranged from the work whichthat bold book dared toapproach for the 'rst time# toloo" at science from theperspective of the artist, but toloo" at art from the perspectiveof life

F

Get me say again# today for meit is an impossible book9I call it

something poorly written,ponderous, embarrassing, withfantastic and confused imagery,sentimental, here and there sosaccharine it is e-eminate,une!en in tempo, without anyimpulse for logical clarity,extremely self:con'dent andthus dispensing with e!idence,e!en distrustful of

the relevance of e!idence, like abook for the initiated, like47usic8 for those baptized intomusic, those who are boundtogether from the start in secretand esoteric aestheticexperiences as a secret signrecognized among bloodrelations in artibus in the arts-9an arrogant and rhapsodicbook, which right from the start

hermetically sealed itself o-from theprofanum vulgusprofane rabble- of the4educated,8 e!en more thanfrom the 4people,8 but a bookwhich, as its e-ect pro!ed andcontinues to pro!e, must alsounderstand this issue wellenough to search out its fellowrhapsodists and to tempt themto new secret pathways anddancing grounds .t any rate,here a strange !oice spoke9


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people admitted that with asmuch curiosity as a!ersion9thedisciple of an as yet 4unknown3od,8 who momentarily hidhimself under the hood of a

learned man, under the gra!ityand dialectical solemnity of the3erman man, e!en under thebad manners of a follower of2agner 0ere was a spirit withalien, e!en nameless, needs, amemory crammed withquestions, experiences, secretplaces, beside which the name?ionysus was written like onemore question mark 0erespoke9so people said tothemsel!es suspiciously9something like a mystic and analmost maenad:like soul, whichstammered with di-iculty andarbitrarily, in a foreignlanguage, as it were, almostuncertain whether it wanted tocommunicate something or hideitself% $his 4new soul8 should

ha!e sung, not spokenC 2hat ashame that I did not dare toutter as a poet what I had to sayat that timeB perhaps I mightha!e been able to do thatC 5r atleast as a philologist 9e!entoday in this area almoste!erything is still there forphilologists to disco!er and digupC .bo!e all, theissue that there is a

problem right here9and thatthe 3reeks will continue toremain, as before, entirelyunknown and unknowable aslong as we ha!e no answer tothe question, 42hat is?ionysian>8

H

Indeed, what is ?ionysian>9$his book o-ers an answer tothat question9a4knowledgeable person8 speaks



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there, the initiate and discipleof his god %erhaps I would nowspeak with more care and lesseloquently about such a di-icultpsychological question as the

origin of tragedy among the3reeks . basic issue is therelationship of the 3reeks topain, the degree of theirsensiti!ity9did this relationshipremain constant> 5r did it turnitself around>9$hat questionwhether their constantlystronger desire for beauty , forfesti!als, entertainments, andnew cults really arose out ofsome lack, out of depri!ation,out of melancholy, out of pain"or if we assume that thisparticular claim is true9and%ericles, or, rather, $hucydides,in the great "uneral 5rationgi!es us to understand that it is9where then must thatcontradictory desire stem from,which appears earlier than the

desire for beauty, namely,the desire for the ugly , the goodstrong willing of the ancient0ellenes for pessimism, fortragic myth, for pictures ofe!erything fearful, e!il,enigmatic, destructi!e, andfateful as the basis of existence>% 2here then must tragedy ha!ecome from> %erhaps out of 1oy ,out of power, out of o!er1owing

health, out of o!erwhelmingfullness> .nd psychologicallyspeaking, what then is themeaning of that madness out ofwhich tragic as well as comicart grew, the ?ionysianmadness> 2hat> Is madnessperhaps not necessarily thesymptom of degradation, ofcollapse, of cultural decadence>

.re there perhaps9a questionfor doctors who treat madness9neuroses associated



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with health> 2ith the youth of apeople and with youthfulness>2hat is re!ealed in thatsynthesis of god and goat in thesatyr> 5ut of what personal

experience, what impulse, didthe 3reek ha!e to imagine the?ionysian enthusiast andoriginal man as a satyr> .nd sofar as the origin of the tragicchorus is concerned, in thosecenturies when the 3reek body1ourished and the 3reek soulbubbled o!er with life, werethere perhaps endemicraptures> =isions andhallucinations which entirecommunities, entire culturalbodies, shared> 0ow&s that>2hat if it were the case that the3reeks, right in the richness oftheir youth, had the will for thetragic and were pessimists>2hat if it was clearly lunacy, touse a saying from %lato, whichbrought the greatest blessings

throughout 3reece> .nd, on theother hand, what if, to turn theissue around, it was preciselyduring the period of theirdissolution and weakness thatthe 3reeks became constantlymore optimistic, moresuper'cial, more hypocritical,and with a greater lust for logicand rational understanding ofthe world, as well as 4more

cheerful8 and 4more scienti'c8>2hat&s this> In spite of all4modern ideas8 and thepre@udices of democratic taste,could the !ictory of optimism,the de!eloping hegemonyof reasonableness, of practicaland theoretical utilitarianism,as well as democracy itself,which occurs in the sameperiod, perhaps be a symptomof failing power, of approachingold age, of physiological


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exhaustion, rather thanpessimism> 2as Epicurus anoptimist9precisely because hewassu2ering>92e see that thisbook was burdened with an

entire bundle of di-icultquestions9let us add its mostdi-icult question# 2hat, fromthe point of !iew of living, doesmorality mean>

$he preface to ichard 2agneralready proposed that art9and not morality9was theessential metaphysical human

acti!ityB in the book itself thereappears many times o!er thesuggesti!e statement that theexistence of the worldis 1usti3ed only as an aestheticphenomenon In fact, the entirebook recognizes only an artist&ssense and9a deeper meaningunder e!erything that happens9a 43od,8 if you will, but

certainly only a totallyunthinking and amoral artist:3od, who in creation as indestruction, in good things as inbad, desires to become aware of his own pleasures andautocratic power equally, a 3odwho, as he creates worlds, ridshimself of the distress offullness and super4uity , ofthe su2ering of pressing

internal contradictions $heworld is at e!ery momentthe attained redemption of 3od,as the eternally changing,eternally new !ision of the onewho su-ers most, who is themost rent with contradictions,the most inconsistent, whoknows how to sa!e himself onlyin appearances %eople may callthis entire artistic metaphysicsarbitrary, pointless, andfantastic9the essential point


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about it is that it alreadybetrays a spirit which will atsome point risk e!erything tostand againstthe moralistic interpretation

and meaningfulness ofexistence 0ere is announced,perhaps for the 'rst time, apessimism 4beyond good ande!il8B here is expressed in wordand formula that 4per!ersity inbelief8 against which6chopenhauer ne!er grew tiredof hurling his angriest cursesand thunderbolts in ad!ance9aphilosophy which dares to placemorality itself in the world ofphenomena, to subsume it, notmerely under the 4!isions8 (inthe sense of someidealistic terminus technicustechnical end point-) but under4illusions,8 as an appearance,delusion, fallacy, interpretation,something made up, a work ofart% %erhaps we can best gauge

the depth of thistendency hostile tomorality from the careful andantagonistic silence with whichAhristianity is treated in theentire book9 Ahristianity as themost excessi!ely thoroughelaboration of a moralistictheme which humanity up tothis point has had a!ailable tolisten to $o tell the truth, there

is nothing which stands ingreater opposition to the purelyaesthetic interpretation and

@usti'cation of the world, as it istaught in this book, thanAhristian doctrine, which is andwishes to be merely moralisticand which, with its absolutestandards, beginning, forexample, with its truthfulness of 3od, relegates art, every art, tothe realm of lies9in otherwords, which denies art,



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condemns it, and passessentence on it ehind such away of thinking and e!aluating,which must be hostile to art, solong as it is in any way genuine,

I always percei!edalso something hostile to life,the wrathful, !engeful a!ersionto life itselfB for all life rests onappearance, art, illusion, optics,the need for perspecti!e and forerror Ahristianity was from thestart essentially and thoroughlylife&s disgust and wearinesswith life, which only dresseditself up with, only hid itself in,only decorated itself with thebelief in an 4other8 or 4better8life $he hatred of the 4world,8the curse against the emotions,the fear of beauty andsensuality, a world beyondcreated so that the world onthis side might be more easilyslandered, at bottom a longingfor nothingness, for extinction,

for rest, until the 46abbath ofall 6abbaths89all that, as wellas the absolute desire ofAhristianity to allow only moral

!alues to count, has alwaysseemed to me the mostdangerous and the weirdestform of all possiblemanifestations of a 42ill to?estruction,8 at least a sign ofthe deepest illness, weariness,

bad temper, exhaustion, andimpo!erishment in li!ing9for inthe eyes of morality (andparticularly Ahristian morality,that is, absolute morality)life must be seen as constantlyand ine!itably wrong, becauselife is something essentiallyamoral9hence, pressed downunder the weight of contemptand eternal No&s,life must 'nally be experiencedas something not worth


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desiring, as somethinginherently worthless .nd whatabout morality itself> 7ight notmorality be a 4desire for thedenial of life,8 a secret instinct

for destruction, a principle ofdecay, diminution, slander, abeginning of the end> .nd thus,the danger of dangers> .ndso, my instinct at that timeturned itself against morality inthis questionable book, as aninstinct a-irming life, andin!ented for itself afundamentally di-erent doctrineand a totally opposite way ofe!aluating life, somethingpurely artistic and anti5Christian 2hat should it becalled> .s a philologist and manof words, I baptized it, takingsome liberties9 for who knewthe correct name of the

.ntichrist>9after the name of a3reek god# I called itthe 6ionysian9

/

?o people understand thenature of the task I dared totouch on back then with thisbook> 0ow much I nowregret the fact that at the time Idid not yet ha!e the courage (orthe presumptuousness>) toallow myself in e!ery respecta personal language for such an

indi!idual point of !iew andsuch daring exploits9that Isought labouriously to expressstrange new e!aluations withformulas from 6chopenhauerand Jant, something whichbasically went quite against thespirit of Jant and6chopenhauer, as well asagainst their tastesC% 2hat thendid 6chopenhauer think abouttragedy> 0e says, 42hat gi!ese!erything tragic its



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characteristic dri!e forele!ation is the working out ofthe recognition that the world,that life, can pro!ide no propersatisfaction, and thus our

de!otion to it is not !orth!hileBthe tragic spirit consists of thatinsight9it leads thereforeto resignation8 (The 7orld as7ill and Idea, II,F,F*) 5 howdi-erently ?ionysus spoke tomeC 5 how far from me thenwas precisely this wholedoctrine of resignationC utthere is something much worseabout my book, somethingwhich I now regret e!en morethan to ha!e obscured andspoiled ?ionysian premonitionswith formulas from6chopenhauer# namely, that Igenerally ruined for myself themagni'centproblem of theree"s, as it arose in me, bymixing it up with the mostmodern issuesC I regret that I

tied myself to hopes wherethere was nothing to hope for,where e!erything indicated alltoo clearly an end pointC $hat,on the basis of the most recent3erman music, I began to tellstories of the 43ermancharacter,8 as if that charactermight be @ust about to disco!eritself, to 'nd itself again9andthat at a time when the 3erman

spirit, which not so long beforestill had the desire to ruleEurope and the power toassume leadership of Europe,was, as its 'nal testament,simply abdicating fore!er and,beneath the ostentatiouspretext of founding an empire,making the transition to aconciliatory moderation, todemocracy and 4modern ideas8C

.s a matter of fact, in theinter!ening years I ha!e learned


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to think of that 43ermancharacter8 with a su-icient lack of hope and of mercy9similarlywith contemporary ermanmusic, which is omantic

through and through and themost un:3reek of all possibleart forms, and besides that, a'rst:rate corrupter of thener!es, doubly dangerousamong a people who lo!e drinkand esteem lack of clarity as a

!irtue, because that has thedual character of a drug whichsimultaneously intoxicatesand befuddles the mind95fcourse, set apart from all therash hopes and defecti!epractical applications to presenttimes with which I then spoiledmy 'rst book for myself, thegreat ?ionysian question markstill remains as it is set outthere, also in relation to music#0ow would one ha!e to create amusic which is no longer

omantic in origin, like the3erman9but 6ionysian>

*

ut, my dear sir, what in all theworld is omantic if your bookis not> Aan the deep hatredagainst 4modernism,8 4reality,8and 4modern ideas8 go anyfurther than it does in yourartists& metaphysics9 which

would sooner still belie!e innothingness or the de!il than inthe 4here and now8> ?oes not afundamental bass note of angerand desire for destructionrumble underneath all yourcontrapuntal !ocal art andseducti!e sounds, a ragingdetermination in opposition toe!erything 4contemporary,8 adesire which is not too distantfrom practical nihilism andwhich seems to say 4etter that


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nothing were true thanthat you were right, thanthat your truth were correctC8Gisten to yourself, mypessimistic gentleman and

worshipper of art, listen withopen ears to a single selectedpassage from your book, to thatnot ineloquent passage aboutthe dragon slayer, which maysound like an incriminating piedpiper to those with young earsand hearts 2hat> Is that not atrue and proper omanticdeclaration of F;, under themask of the pessimism of ;,behind which is already playingthe prelude to the usualomantic 'nale9break,collapse, return, and prostrationbefore an ancient belief,before the old 3od 2hat>Isn&t your book for pessimistsitself an anti:3reek andomantic piece, e!en something4as intoxicating as it is

befuddling,8 in any e!ent, anarcotic, e!en a piece ofmusic, erman music> Gisten tothe following#

4Get&s picture for oursel!es ageneration growing up withthis fearlessness in its gaze,with this heroic push intowhat is tremendousB let&spicture for oursel!es the bold

stride of these dragonslayers, the proud audacitywith which they turn theirbacks on all the doctrines ofweakness associated withoptimism, in order to li!ewith resolution, fully andcompletely 7ould it not benecessary that the tragic manof this culture, ha!ing trainedhimself for what is serious

and frightening, desire a newart, the art of metaphysical


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consolation, the tragedy, ashis own personal 0elen of$roy, and to ha!e to cry outwith "aust#

2ith my desire&s power,should I not callInto this life the fairestform of all>%

42ould it notbe necessary >8 No, threetimes noC Kou young omantics#it should not be necessaryC utit is !ery likely that thingswill end uplike that9that youwill end up like that9namely,

4being consoled,8 as it standswritten, in spite of all the self:training for what is serious andfrightening, 4metaphysicallyconsoled,8 in short, the wayomantics 'nish up,as Christians NoC Koushould 'rst learn the art ofconsolationin this life9youshould learn to laugh, my young

friends, e!en if you wish toremain thoroughly pessimistic"rom that, as laughing people,some day or other perhaps youwill for once ship allmetaphysical consolation to thede!il9and then away withmetaphysicsC 5r, to speak thelanguage of that ?ionysian 'endcalled 8arathustra#%

4Gift up your hearts, mybrothers, high, higherC .nd formy sake don&t forget your legsas wellC aise up your legs, you'ne dancers, and better yet,stand on your headsC8

4$his crown of the man wholaughs, this crown wreathedwith roses9I ha!e placed thiscrown upon myself I myselfdeclare my laughter holy $oday

I found no one else strongenough for that8



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4Larathustra the dancer,Larathustra the light hearted,who beckons with his wings, aman ready to 1y, hailing allbirds, prepared and ready, a

careless and blessed man894Larathustra the truth:teller,Larathustra the true laugher,not an impatient man, not aman of absolutes, someone wholo!es @umps and leaps to theside9I myself crown myselfC8

4$his crown of the laughingman, this crown of rosewreaths# you my brothers, I

throw this crown to youCGaughter I declare sacred# youhigher men, for my sake learn9 to laughC8

6ils:7aria, Mpper Engadine .ugust /

Preface to ichard !agner

In order to keep far away fromme all possible disturbances,agitation, andmisunderstandings which theassembly of ideas in this pieceof writing will bring about onaccount of the peculiarcharacter of our aestheticpublic, and also to be capable of writing a word of introduction

to the book with the samecontemplati!e @oy which markse!ery page, the crystallizationof good inspirational hours, Iam imagining to myself the look with which you, my esteemedfriend, will recei!e this work9how you, perhaps after ane!ening stroll in the wintersnow, look at the unbound%rometheus on the title page,read my name, and areimmediately con!inced that, no


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matter what this text consistsof, the writer has somethingserious and urgent to say, andthat, in addition, in e!erythingwhich he composed, he was

con!ersing with you as withsomeone present and couldwrite down only what wasappropriate to such a presenceIn this connection, you willremember that I gathered theseideas together at the same timethat your mar!ellouscommemorati!e !olume oneetho!en appeared, that is,during the terror and grandeurof the war which had @ustbroken out Ne!ertheless,people would be wrong if thiscollection made them think ofthe contrast between patrioticexcitement and aestheticrapture, between a bra!eseriousness and a cheerfulgame y actually reading thistext, they should instead be

astonished to recognize clearlythe serious 3erman problemwhich we ha!e to deal with, theproblem which we really placedright in the middle of 3ermanhopes, as its !ortex and turningpoint 0owe!er, it will perhapsbe generally o-ensi!e for thesesame people to see an aestheticproblem taken so seriously, if,that is, they are incapable of

seeing art as anything morethan a merry di!ersion, aneasily dispensable bell:ringingin comparison with the46eriousness of Existence,8 as if no one understood what wasin!ol!ed in this contrast withsuch 46eriousness ofExistence8 "or these earnestreaders, let this ser!e as acaution# I am con!inced that artis the highest task and theessential metaphysical


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capability of this life, in thesense of that man to whom Ihere, as to my sublime pioneeron this path, wish this writing tobe dedicated

asel, End of the Kear *

The Birth of Tragedy

2e will ha!e achie!ed much forscienti'c study of aestheticswhen we come, not merely to a

logical understanding, but alsoto the certain and immediateapprehension of the fact thatthe further de!elopment of artis bound up with the duality ofthe +pollonian andthe 6ionysian, @ust asreproduction similarly dependsupon the duality of the sexes,their continuing strife and onlyperiodically occurring

reconciliation 2e take thesenames from the 3reeks, whoga!e a clear !oice to theprofound secret teachings oftheir contemplati!e art, not inideas, but in the powerfullyclear forms of their di!ineworld 2ith those two gods ofart, .pollo and ?ionysus, weestablish our recognition that in

the 3reek world there exists ahuge contrast, in origin andpurposes, between the !isualarts, the .pollonian, and thenon:!isual art of music, the?ionysian% $hese two !erydi-erent dri!es go hand inhand, for the most part in opencon1ict with each other andsimultaneously pro!oking eachother all the time to new and

more powerful o-spring, inorder to perpetuate in them the



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contest of that opposition,which the common word 4.rt8only seems to bridge, until atlast, through a mar!ellousmetaphysical act of the 3reek

4will,8 they appear paired upwith each other and, as thispair, 'nally produce .ttictragedy, as much a ?ionysian asan .pollonian work of art

In order to bring those twodri!es closer to us, let us thinkof them 'rst as the separateartistic worlds of dream andof into:ication, physiological

phenomena between which wecan obser!e an oppositioncorresponding to the onebetween the .pollonian and the?ionysian .ccording to theidea of Gucretius, themar!ellous di!ine shapes 'rststepped out before the mind ofman in a dream% It was in adream that the great artist sawthe delightful anatomy of

superhuman existence, and the3reek poet, questioned aboutthe secrets of poetic creati!ity,would ha!e also recalled hisdreams and gi!en anexplanation similar to the one0ans 6achs pro!ides in 6ie

0eistersinger %

7y friend, that is preciselythe poet&s work9

$o 'gure out his dreams,mark them downelie!e me, the truest illusionof mankindIs re!ealed to him in dreams#

.ll poetic art and poeticizingIs nothing but interpretingtrue dreams

$he beautiful appearance of theworld of dreams, in whose

creation each man is a completeartist, is the precondition of all



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plastic art, and also, in fact, aswe shall see, an important partof poetry 2e en@oy the formwith an immediateunderstandingB e!ery shape

speaks to usB nothing isindi-erent and unnecessary "orall the most intense life of thisdream reality, we ne!erthelessha!e the shimmering sense oftheir illusory $uality # $hat, atleast, is my experience "or thefrequency, indeed normality, ofthis response, I could point tomany witnesses and theutterances of poets E!en thephilosophical man has thepresentiment that under thisreality in which we li!e andha!e our being lies hidden asecond, totally di-erent realityand that thus the former is anillusion .nd 6chopenhauerspeci'cally designates as thetrademark of philosophicaltalent the ability to recognize at

certain times that human beingsand all things are merephantoms or dream picturesNow, @ust as the philosopherbeha!es in relation to thereality of existence, so theartistically excitable manbeha!es in relation to thereality of dreams# he looks atthem precisely and withpleasure, for from these

pictures he fashions hisinterpretation of lifeB from thesee!ents he rehearses his life forhimself $his is not merely acase of the agreeable andfriendly images which heexperiences in himself with acomplete understandingB theyalso include what is serious,cloudy, sad, dark, suddenscruples, teasing accidents,ner!ous expectations, in short,the entire 4di!ine comedy8 of


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life, including the Inferno9allthis mo!es past him, not @ustlike a shadow play9for he li!esand su-ers in the midst of thesescenes9and yet also not

without that 1eeting sense ofillusion .nd perhaps se!eralpeople remember, like me, amidthe dangers and terrors of adream, successfully cheeringthemsel!es up by shouting# 4Itis a dreamC I want to dream itsome moreC8 I ha!e also heardaccounts of some people whohad the ability to set out thecausality of one and the samedream o!er three or moreconsecuti!e nights $hese factsare clear e!idence showing thatour innermost beings, thesecret underground in all of us,experiences its dreams withdeep en@oyment and a sense ofdelightful necessity

In the same manner the 3reeksexpressed this @oyful necessity

of the dream experience in their .pollo .pollo, as the god of allthe plastic arts, is at the sametime the god of prophecy Inaccordance with the rootmeaning of his association with4brightness,8 he is the god oflightB he also rules o!er thebeautiful appearance of theinner fantasy world $he higher

truth, the perfection of thiscondition in contrast to thesketchy understanding of ourdaily reality, as well as the deepconsciousness of a healing andhelping nature in sleep anddreaming, is at the same timethe symbolic analogy to thecapacity to prophesy the truth,as well as to art in general,through which life is made

possible and worth li!ing utalso that delicate line which the


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dream image may not cross sothat it does not work its e-ectpathologically9 otherwise theillusion would decei!e us ascrude reality9that line must

not be absent from the image of .pollo, that boundary ofmoderation, that freedom frommore ecstatic excitement, thatfully wise calm of the god ofimages 0is eye must be 4sun:like,8 in keeping with his originBe!en when he is angry andgazes with displeasure, theconsecration of the beautifulillusion rests on him .nd soconcerning .pollo one couldendorse, in an eccentric way,what 6chopenhauer says of theman trapped in the !eil of 7a@a#4.s on the stormy sea whichextends without limit on allsides, howling mountainouswa!es rise up and sink and asailor sits in a row boat,trusting the weak craft, so, in

the midst of a world oftorments, the solitary man sitspeacefully, supported by andtrusting in the principiumindividuationis principle ofindividuation-8 (7orld as 7illand Idea, IF)% In fact, wecould say of .pollo that theimperturbable trust in thatprinciple and the calm sittingstill of the man caught up in it

attained its loftiest expressionin him, and we may e!endesignate .pollo himself as themar!ellous di!ine image ofthe principium individuationis,from whose gestures and gazeall the @oy and wisdom of4illusion,8 together with itsbeauty, speak to us

In the same place

6chopenhauer also describedfor us the



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tremendous a!e which seizes aman when he suddenly doubtshis ways of comprehendingillusion, when the principle ofreason, in any one of its forms,

appears to su-er from anexception If we add to this awethe ecstatic rapture, which risesup out of the same collapse ofthe principiumindividuationis from theinnermost depths of a humanbeing, indeed, from theinnermost depths of nature,then we ha!e a glimpse into theessence of the 6ionysian, whichis presented to us most closelythrough the analogyto into:ication Either throughthe in1uence of narcotic drink,of which all primiti!e men andpeoples speak in their hymns,or through the powerful comingon of spring, which dri!es

@oyfully through all of nature,that ?ionysian excitement

arisesB as it intensi'es, thesub@ecti!e fades into completeforgetfulness of self E!en in the3erman 7iddle .ges, under thesame power of ?ionysus,constantly growing hordesthronged from place to place,singing and dancingB in these6t ohn&s and 6t =itus&s danceswe recognize the acchicchorus of the 3reeks once

again, with its precursors in .sia 7inor, right back toabylon and theorgiastic /acaea riotous

Babylonian festival- $here arepeople who, from a lack ofexperience or out of apathy,turn mockingly or pityinglyaway from such phenomena asfrom a 4sickness of the people,8with a sense of their ownhealth $hese poor peoplenaturally do not ha!e any sense


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of how deathly and ghost:likethis !ery 4health8 of theirssounds, when the glowing life of the ?ionysian throng roars pastthem

Mnder the magic of the?ionysian, not only does thebond between man and manlock itself in place once more,but also nature itself, nomatterhow alienated, hostile, orsub@ugated, re@oices again inher festi!al of reconciliationwith her prodigal son, man $heearth freely o-ers up her gifts,

and the beasts of prey from therocks and the desert approachin peace $he wagon of?ionysus is co!ered with1owers and wreathsB under his

yolk stride panthers and tigersIf someone were to transformeetho!en&s ;de to Joy into apainting and not restrain hisimagination when millions ofpeople sink dramatically into

the dust, then we could comeclose to the ?ionysian Now thesla!e a free manB now all thesti-, hostile barriers breakapart, those things whichnecessity and arbitrary poweror 4saucy fashion8 ha!eestablished between men Now,with the gospel of worldharmony, e!ery man feels

himself not only united with hisneighbour, reconciled and fusedtogether, but also as one withhim, as if the !eil of 7a@a hadbeen ripped apart, with onlyscraps 1uttering around in theface of the mysteriousprimordial unity 6inging anddancing, man expresses himselfas a member of a highercommunity# he has forgotten

how to walk and talk and is onthe !erge of 1ying up into the


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air as he dances $heenchantment speaks out in hisgestures ust as the animalsnow speak and the earth gi!esmilk and honey, so something

supernatural also echoes out ofhim# he feels himself a godB hehimself now mo!es in as loftyand ecstatic a way as he sawthe gods mo!e in his dream$he man is no longer an artistBhe has become a work of art#the artistic power of all ofnature, to the highest rhapsodicsatisfaction of the primordialunity, re!eals itself here in thetransports of intoxication $he'nest clay, the most expensi!emarble9man9is here workedand hewn, and the cry of theEleusinian mysteries rings outto the chisel blows of the?ionysian world artist# 4?o youfall down, you millions> 2orld,do you ha!e a sense of yourcreator>8%

+

Mp to this point, we ha!econsidered the .pollonian andits opposite, the ?ionysian, asartistic forces which break forthout of nature itself,!ithout themediation of the human artist,and in which the human artisticdri!es are for the time beingsatis'ed directly9on the one

hand, as a world of dreamimages, whose perfection hasno connection with anindi!idual&s high le!el ofintellect or artistic education,on the other hand, as theintoxicating reality, which onceagain does not respect theindi!idual, but e!en seeks toabolish the indi!idual and toredeem him through a mysticalfeeling of collecti!e unity Incomparison to these



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unmediated artistic states ofnature, e!ery artist is an4imitator,8 and, in fact, is anartist either of .polloniandream or ?ionysian intoxication

or, 'nally9as in 3reek tragedy,for example9 simultaneously anartist of intoxication and ofdreams .s the last, it ispossible for us to imagine howhe sinks down in ?ionysiandrunkenness and mysticalobliteration of the self, aloneand apart from the rapturouschoruses, and how, through the

.pollonian e-ects of dream, hisown state now re!eals itself tohim, that is, his unity with theinnermost basis of the world, ina metaphorical dream picture

0a!ing set out these generalassumptions and comparisons,let us now approach the ree"s,in order to recognize to whatdegree and to what heightsthose artistic drives of

nature were de!eloped in them#in that way we will be in aposition to understand moredeeply and to assess therelationship of the 3reek artistto his primordial images or, touse .ristotle&s expression, his4imitation of nature8 In spite of all their literature on dreamsand numerous dream

anecdotes, we can speak ofthe dreams of the 3reeks onlyhypothetically, although with afair degree of certainty 3i!enthe incredibly clear andaccurate plastic capability oftheir eyes, along with theirintelligent and open lo!e ofcolour, one cannot go wrong inassuming that, to the shame allthose born later, their dreams

also had a logical causality oflines and circumferences,


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colours, and groupings, asequence of scenes rather liketheir best bas reliefs, whoseperfection would certainlyentitle us, if such a comparison

were possible, to describe thedreaming 3reek man as 0omerand 0omer as a dreaming3reek man, in a deeper sensethan when modern man, withrespect to his dreams, has thetemerity to compare himselfwith 6hakespeare

5n the other hand, we do notneed to speak merely

hypothetically when we are toexpose the immense gap whichseparates the 6ionysianree"sfrom the ?ionysianbarbarians In all quarters ofthe ancient world9setting asidehere the newer worlds9fromome to abylon, we cancon'rm the existence of?ionysian celebrations, of atype, at best, related to the

3reek type in much the sameway as the bearded satyr, whosename and attributes are takenfrom the goat, is related to?ionysus himself .lmoste!erywhere, the central point of these celebrations consisted ofan exuberant sexualpromiscuity, whose wa!es1ooded o!er all established

family practices and itstraditional laws $he !erywildest bestiality of nature washere unleashed, creating thatabominable mixture of lust andcruelty, which has alwaysseemed to me the real 4witches&cauldron8 "rom the fe!erishexcitement of those festi!als,knowledge of which reached the3reeks from all directions by

land and sea, they were, itseems, for a long time


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completely secure andprotected through the 'gure of

.pollo, drawn up here in all hispride .pollo could counter byholding up the head of 7edusa,

for no power was moredangerous than this massi!eand grotesque ?ionysianforce% ?oric art hasimmortalized that ma@esticbearing of .pollo as he standsin opposition% $his resistancebecame more questionable ande!en impossible as similarimpulses 'nally broke out fromthe deepest roots of 0ellenicculture itself# now the e-ect ofthe ?elphic god, in a timely'nal process of reconciliation,limited itself to taking thedestructi!e weapon out of thehand of the powerful opponent$his reconciliation is the mostimportant moment in thehistory of 3reek culture2here!er we look, the

re!olutionary e-ects of thise!ent manifest themsel!es Itwas the reconciliation of twoopponents, who from now onobser!ed their di-erences witha sharp demarcation of theborder line to be kept betweenthem and with occasional giftssent to honour each other, butbasically the gap was notbridged o!er 0owe!er, if we

see how, under the pressure ofthat peace agreement, the?ionysian power re!ealed itself,then we now understand themeaning of the festi!als ofworld redemption and days oftrans'guration in the ?ionysianorgies of the 3reeks, incomparison with thatabylonian 6acaea, whichturned human beings back intotigers and apes



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In these 3reek festi!als, for the'rst time nature achie!es itsartistic @ubilee In them, for the'rst time, the tearing apart ofthe principii individuationis the

principle ofindividuation- becomes anartistic phenomenon 0ere thatdreadful witches& cauldron oflust and cruelty was withoutpower $he strange mixture andambiguity in the emotions of the?ionysian celebrant onlyremind him9as healing potionsremind one of deadly poison9of that phenomenon that painawakens @oy, that the @ubilationin his chest rips out cries ofagony "rom the most sublime

@oy echoes the cry of horror orthe longingly plainti!e lamento!er an irreparable loss Inthose 3reek festi!als it was as if a sentimental feature of natureis breaking out, as if nature hasto sigh o!er her

dismemberment into separateindi!iduals $he song and thelanguage of gestures of such adoubly de'ned celebrant wasfor the 0omeric 3reek worldsomething new and unheard of,and in it ?ionysian music, inparticular, awoke fear andterror If music was apparentlyalready known as an .pollonianart, this music, strictly

speaking, was a rhythmicpattern like the sound of wa!es,whose artistic power had beende!eloped for presenting

.pollonian states $he music of .pollo was ?oric architectureexpressed in sound, but only inintimate tones characteristic ofthe cithara% It kept at a carefuldistance, as something un:

.pollonian, the particularelement which constitutes thecharacter of ?ionysian music



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and, along with that, of musicgenerally, the emotionallydisturbing tonal power, theuni'ed stream of melody, andthe totally incomparable world

of harmony In the ?ionysiandithyramb man is aroused tothe highest intensity of all hissymbolic capabilitiesBsomething ne!er felt forcesitself into expression, thedestruction of the !eil of 7a@a,the sense of oneness as thepresiding genius of form, infact, of nature itself Now theessence of nature is to expressitself symbolicallyB a new worldof symbols is necessary, theentire symbolism of the body,not @ust the symbolism of themouth, of the face, and of thewords, but the full gestures ofthe dance, all the limbs mo!ingto the rhythm .nd then theother symbolic powers grow,those of the music, in rhythm,

dynamics, and harmony9withsudden !iolence $o grasp thistotal unleashing of all symbolicpowers, man must already ha!eattained that high le!el offreedom from the self whichdesires to express itselfsymbolically in those forcesecause of this, the dithyrambicser!ant of ?ionysus will beunderstood only by someone

like himselfC 2ith whatastonishment must the

.pollonian 3reek ha!e gazed athimC 2ith an amazement whichwas all the greater as he sensedwith horror that all this mightnot be really so foreign to him,that, in fact, his .pollonianconsciousness was, like a !eil,merely co!ering the ?ionysianworld in front of him

F


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In order to grasp this point, wemust dismantle that artisticstructure of +pollonian culture,as it were, stone by stone, untilwe see the foundations on

which it is built 0ere we nowbecome aware for the 'rst timeof themar!ellous ;lympian di!ineforms, which stand on thepediments of this building andwhose actions decorate itsfriezes all around inilluminating bas relief If .polloalso stands among them as asingle god next to others andwithout any claim to a pre:eminent position, we should noton that account let oursel!es bedecei!ed $he same dri!e whichmade itself sensuouslyperceptible in .pollo ga!e birthto that entire 5lympian world ingeneral, and, in this sense, weare entitled to !alue .pollo asthe father of that world 2hat

was the immense need out ofwhich such an illuminatingsociety of 5lympian beingsarose>

.nyone who steps up to these5lympians with another religionin his heart and now seeks fromthem ethical loftiness, e!ensanctity, non:physicalspirituality, lo!ing gazes 'lled

with pity, will soon ha!e to turnhis back despondently indisappointment with them 0erethere is no reminder ofasceticism, spirituality, andduty# here speaks to us only afull, indeed a triumphant,existence, in which e!erythingpresent is worshipped, nomatter whether it is good ore!il .nd thus the onlooker may

well stand in real consternationin front of this fantastic excess


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of life, to ask himself with whatmagical drink in their bodiesthese high:spirited men couldha!e en@oyed life, so thatwhere!er they look, 0elen

laughs back at them, that idealimage of their own existence,4ho!ering in sweetsensuousness8 0owe!er, wemust call out to this onlookerwho has already turned hisback# 4?on&t lea!e them "irstlisten to what 3reek folkwisdom expresses about this

!ery life which spreads itselfout here before you with suchinexplicable serenity $here isan old legend that king 7idasfor a long time hunted thewise /ilenus, the companion of?ionysus, in the forests, withoutcatching him 2hen 6ilenus'nally fell into the king&s hands,the king asked what was thebest thing of all for men, the

!ery 'nest $he daemon

remained silent, motionless andin1exible, until, compelled bythe king, he 'nally broke outinto shrill laughter and saidthese words, 46u-eringcreature, born for a day, child of accident and toil, why are youforcing me to say what wouldgi!e you the greatest pleasurenot to hear> $he !ery best thingfor you is totally unreachable#

not to ha!e been born, notto e:ist, to benothing $hesecond best thing for you,howe!er, is this9to die soon8

2hat is the relationshipbetween the 5lympian world ofthe gods and this popularwisdom> It is like therelationship of the entrancing

!ision of the tortured martyr to

his torments


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Now, as it were, the 5lympicmagic mountain re!eals itselfand shows us its roots $he3reek knew and felt the terrorand horrors of existence# in

order to be able to li!e at all, hemust ha!e placed in front of himthe gleaming dream birth of the5lympians $hat immensedistrust of the titanic forces ofnature, that 0oiraate- enthroned mercilesslyabo!e e!erything which couldbe known, that !ulture of thegreat friend of man,%rometheus, that fatal lot ofwise 5edipus, that family curseon the 0ouse of .treus, whichcompelled 5restes to kill hismother, in short, that entirephilosophy of the woodland god,together with its mythicalillustrations, from which themelancholy Etruscans died o-9that was o!ercome time aftertime by the 3reeks, or at least

hidden and remo!ed from !iew,through the artistic middle!orld 0ittel!elt- of the5lympians% In order to be ableto li!e, the 3reeks must ha!ecreated these gods out of thedeepest necessity 2e canreadily imagine the sequentialde!elopment of these gods#through that .pollonian dri!efor beauty there de!eloped, by a

slow transition out of theprimordial titanic di!ine orderof terror, the 5lympian di!ineorder of @oy, @ust as roses breakforth out of thorny bushes 0owelse could a people soemotionally sensiti!e, sospontaneously desiring, sosingularly capable of su2ering,ha!e been able to endure theirexistence, unless the samequalities, with a loftier glory1owing round them, manifested



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themsel!es in their gods $hesame impulse which summonsart into life as the seducti!ereplenishment for further li!ingand the completion of existence

also ga!e rise to the 5lympianworld, in which the 0ellenic42ill8 held before itself atrans'guring mirror In thisway, the gods @ustify the li!es ofmen, because they themsel!esli!e it9that is the onlysatisfactory theodicyC Existenceunder the bright sunshine ofsuch gods is experienced asworth stri!ing for in itself, andthe essential pain of the0omeric men refers toseparation from that sunlight,abo!e all to the fact that suchseparation is coming soon, sothat people could now say ofthem, with a re!ersal of thewisdom of 6ilenus, 4$he !eryworst thing for them was to diesoonB the second worst was to

die at all8 2hen the lamentsresound now, they tell oncemore of short:li!ed .chilles, ofthe changes in the race of men,transformed like lea!es, of thedestruction of the heroic age Itis not unworthy of the greatesthero to long to li!e on, e!en asa day labourer% $hus, in the

.pollonian stage, the 42ill8spontaneously demands to keep

on li!ing, the 0omeric manfeels himself so at one withli!ing, that e!en his lamentbecomes a song of praise

0ere we must now point outthat this harmony, looked onwith such longing by morerecent men, in fact, that unity of man with nature, for which6chiller coined the artistic

slogan 4nai!e,8 is in no waysuch a simple, ine!itable, and,



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as it were, una!oidablecondition, like a humanparadise, whichwe necessarily run into at thedoor of e!ery culture# such a

belief is possible only in an agewhich seeks to belie!e thatousseau&s Emile is also anartist and which imagines it hasfound in 0omer an artist likeEmile raised in the bosom ofnature% 2here!er weencounter the 4nai!e8 in art, weha!e to recognize the higheste-ect of .pollonian culture,which always 'rst has too!erthrow the kingdom of the$itans and to kill monsters and,through powerfully deludingimages and @oyful illusions, hasto emerge !ictorious o!er thehorri'c depth of what weobser!e in the world and themost sensiti!e capacity forsu-ering ut how seldom doesthe nai!e, that sense of being

completely swallowed up in thebeauty of appearance, succeedC"or that reason, howinexpressibly noble is


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and the world of artB in order toglorify itself, its creatures hadto sense that they themsel!eswere worthy of being glori'edBthey had to see themsel!es

again in a higher sphere,without this complete world ofcontemplation a-ecting them asan imperati!e or as a reproach$his is the sphere of beauty, inwhich they saw their mirrorimages, the 5lympians 2iththis mirror of beauty, the0ellenic 42ill8 fought againstthe talent for su-ering, which isbound up with artistic talent,and the wisdom of su-ering,and, as a memorial of its !ictory,0omer stands before us, thenai!e artist

H

Msing the analogy of a dream,we can learn something aboutthis nai!e artist If we recallhow the dreamer, in the middle

of his illusory dream world,calls out to himself, withoutdestroying that world, 4It is adream I want to continuedreaming it,8 and if we caninfer from that, on the onehand, that he has a deep innerdelight at the contemplation ofthe dream, and, on the other,that he must ha!e completelyforgotten the day and its

terrible demands, in order to becapable of dreaming at all withthis inner @oy at contemplation,then we may interpret all thesephenomena, with the guidanceof .pollo, the interpreter ofdreams, in something like themanner which follows $o besure, with respect to bothhal!es of life, the waking andthe dreaming parts, the 'rstone strikes us asdisproportionately more


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pri!ileged, more important,more !aluable, more worthli!ing, in fact, the only partwhich is li!edB ne!ertheless, Iwould like to assert, something

of a paradox to all appearances,for the sake of that secretfoundation of our essence,whose manifestation we are,precisely the oppositee!aluation of dreams "or themore I become aware of thoseall:powerful natural artisticimpulses and the fer!ent

yearning for illusion containedin them, the desire to beredeemed through appearances,the more I feel myself pushed tothe metaphysical assumptionthat the true being and theprimordial oneness, e!er:su-ering and entirelycontradictory, constantly usesthe delightful !ision, the @oyfulillusion, to redeem itselfB we arecompelled to experience this

illusion, totally caught up in itand constituted by it, as thetruly non:existent, that is, as acontinuous de!elopment intime, space, and causality, inother words, as empiricalreality ut if we momentarilylook away from our own4reality,8 if we grasp ourempirical existence and theworld in general as an idea of

the primordial oneness createdin e!ery moment, then we mustnow consider our dream asthe illusion of an illusion, aswell as an e!en higherful'lment of the original hungerfor illusion "or this samereason, the innermost core ofnature takes that indescribable

@oy in the nai!e artist and nai!ework of art, which is, in thesame way, only 4an illusion ofan illusion8 =aphael, himself


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one of those immortal 4nai!e8men, has presented in anallegorical painting thatreduction of an illusion into anillusion, the fundamental

process of the nai!e artist and .pollonian culture as well% Inhis Trans3guration the bottomhalf shows us, with thepossessed boy, the despairingporters, the helplesslyfrightened disciples, the mirrorimage of the eternal primordialpain, the sole basis of the world$he 4illusion8 here is there1ection of the eternalcontradiction, of the father ofthings Now, out of this illusionthere rises up, like an ambrosialfragrance, a new world ofillusion, like a !ision, in!isibleto those trapped in the 'rstscene9something illuminatingand ho!ering in the purestpainless ecstasy, a shining

!ision to contemplate with eyes

wide open 0ere we ha!e beforeour eyes, in the highestsymbolism of art, that

.pollonian world of beauty andits foundation, the frighteningwisdom of 6ilenus, and weunderstand, through intuition,their reciprocal necessity ut

.pollo confronts us once againas the di!ine manifestation ofthe principii individuationis, the

only thing through which theeternally attained goal of theprimordial oneness, itsredemption through illusion,takes place# he shows us, withawe:inspiring gestures, how theentire world of torment isnecessary, so that through it theindi!idual is pushed to thecreation of the redempti!e

!ision and then, absorbed incontemplation of that !ision,sits quietly in his rowboat,



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tossing around in the middle ofthe ocean

$his dei'cation of indi!iduation,if it is thought of in general ascommanding and proscripti!e,understands only one law, theindi!idual, that is, obser!ing thelimits ofindi!idualization, moderation inthe 3reek sense .pollo, as anethical di!inity, demandsmoderation from his followersand, so that they can obser!eself:control, a knowledge of theself .nd so alongside the

aesthetic necessity of beautyrun the demands 4Jnowthyself8 and 4Nothing toomuchC8B whereas, arroganceand excess are considered theessentially hostile daemonsbelonging to the non:.polloniansphere, and thereforecharacteristics of the pre:

.pollonian period, the age ofthe $itans, and of the world

beyond the .pollonian, that is,the barbarian world% ecauseof his $itanic lo!e for mankind,%rometheus had to be rippedapart by the !ulture "or thesake of his excessi!e wisdom,which sol!ed the riddle of thesphinx, 5edipus had to beo!erthrown in a bewilderingwhirlpool of e!il $hat is how

the ?elphic god interpreted the3reek past%

$o the .pollonian 3reek thee-ect aroused bythe 6ionysian also seemed4$itanic8 and 4barbaric8 ut hecould not, with that response,conceal that he himself was,nonetheless, at the same timealso internally related to thosedeposed $itans and heroesIndeed, he must ha!e felt e!enmore# his entire existence, with



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all its beauty and moderation,rested on a hidden undergroundof su-ering and knowledge,which was exposed for himagain through that !ery

?ionysian .nd lookC .pollocould not li!e without ?ionysusC$he 4$itanic8 and the4barbaric8 were, in the end,e!ery bit as necessary as the

.pollonianC .nd now let usimagine how in this world,constructed on illusion andmoderation and restrained byart, the ecstatic sound of the?ionysian celebration rang outall around with a constantlymore enticing magic, how inthese celebrations theentire e:cess of nature madeitself known in @oy, su-ering,and knowledge, e!en in themost piercing scream Get usimagine what the psalm:chanting .pollonian artist, withhis ghostly harp music could

ha!e meant in comparison tothis daemonic popular singingC$he muses of the art of4illusion8 withered away in theface of an art which spoke truthin its intoxicated state# thewisdom of 6ilenus cried out42oeC 2oeC8 against the serene5lympians $he indi!idual, withall his limits and moderation,was destroyed in the self:

obli!ion of the ?ionysiancondition and forgot the

.pollonian principles

>:cess re!ealed itself as thetruth $he contradiction, theecstasy born from pain, spokeof itself right out of the heart ofnature .nd so the .pollonianwas cancelled and destroyede!erywhere the ?ionysian

penetrated ut it is @ust ascertain that in those places


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where the 'rst onslaught washalted, the high reputation andthe ma@esty of the ?elphic godmanifested itself more 'rmlyand threateningly than e!er "or

I can explain the 6oric stateand ?oric art only as a constant

.pollonian war camp# onlythrough an uninterruptedopposition to the $itanic:barbaric essence of the?ionysian could such a de'antlyaloof art, protected on all sideswith forti'cations, such a harshupbringing as a preparation forwar, and such a cruel andruthless basis for go!ernmentendure for a long time%

Mp to this point I ha!e set out atsome length what I obser!ed atthe opening of this essay# howthe ?ionysian and the

.pollonian ruled the 0ellenicworld in a constantly newsequence of births, one afterthe other, mutually intensifying

each otherB how, out of the4'rst8 age, with its battlesagainst the $itans and itsaustere popular philosophy, the0omeric world de!eloped underthe rule of the .pollonian dri!efor beautyB how this 4nai!e8magni'cence was swallowed uponce more by the breaking outof the ?ionysian torrentB and

how, in opposition to this newpower, the .pollonian erectedthe rigid ma@esty of ?oric artand the ?oric world !iew If inthis way the earlier history ofthe 3reeks, in the struggle ofthose two hostile principles,falls into four ma@or artisticperiods, we are now impelled toask more about the 'nal stageof this de!elopment and

stri!ing, in case we shouldconsider, for example, the last



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attained period, the one of?oric art, the summit andintention of those artisticimpulses 0ere, the lofty andhighly praised artistic

achie!ement of +ttictragedy and of the dramaticdithyramb presents itself beforeour eyes, as the common goal of both impulses, whose secretmarriage partnership, after along antecedent struggle,glori'ed itself with such a child9at once .ntigone andAassandra%

2e are now approaching theessential goal of ourundertaking, which aims at aknowledge of the ?ionysian:

.pollonian genius and its workof art, at least at an intuiti!eunderstanding of thatmysterious unity 0ere now, tobegin with, we raise the

question of where that newseed 'rst manifests itself in the0ellenic world, the seed whichlater de!elops into tragedy andthe dramatic dithyramb 5n thisquestion, classical antiquityitself gi!es us illustrati!ee!idence when itplaces


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'ghting ser!ant of the 7uses,battered by existence In itsinterpretati!e e-orts, our morerecent aesthetics has knownonly how to indicate that here

the 'rst 4sub@ecti!e8 artiststands in contrast to the4ob@ecti!e8 artist $hisinterpretation is of little use tous, since we recognize thesub@ecti!e artist only as a badartist and demand in e!ery styleof art and e!ery high artisticachie!ement, 'rst and foremost,a !ictory o!er the sub@ecti!e,redemption from the 4I,8 andthe silence of e!ery indi!idualwill and desireB indeed, we areincapable of belie!ing theslightest artistic creation true,unless it has ob@ecti!ity and apurely disinterestedcontemplation 0ence, ouraesthetic must 'rst sol!e thatproblem of how it is possible forthe 4lyric poet8 to be an artist,

for he, according to theexperience of all ages, alwayssays 4I8 and sings out in front of us the entire chromaticsequence of the sounds of hispassions and desires $his !ery

.rchilochus startles us,alongside 0omer, through thecry of his hate and scorn,through the drunken eruptionsof his desire y doing this, is

not .rchilochus, the 'rst artistcalled sub@ecti!e, essentially anon:artist> ut then where doesthat !eneration come from,which the ?elphic oracle itself,the centre of 4ob@ecti!e8 art,showed to him, the poet, in !eryremarkable utterances

/chiller has illuminated his ownwriting process for us with a

psychological obser!ation whichwas inexplicable to him but


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which ne!ertheless did notappear questionable, for heconfesses that when he was in astate of preparation, before heactually started writing, he did

not ha!e something like a seriesof pictures, with a structuredcausality of ideas, in front ofhim and inside him, but rathera musical mood (42ith me,feeling at 'rst lacks a de'nedand clear ob@ectB the latterde!elops for the 'rst time lateron . certain musical emotionalstate comes 'rst, and from this,with me, the poetic idea thenfollows8 If we now add themost important phenomenon ofthe entire ancient lyric, theunion, uni!ersallyacknowledged as natural,between the lyricist and themusician, in fact, their commonidentity9in comparison withwhich our recent lyrics look likethe image of a god without a

head9then we can, on the basisof the aesthetic metaphysics weestablished earlier, now accountfor the lyric poet in thefollowing manner 0e has, 'rstof all, as a ?ionysian artist,become entirely uni'ed with theprimordial oneness, with itspain and contradiction, andproduces the re1ection of thisprimordial oneness as music, if

music can with @ustice be calleda re:working of the world andits second casting ut now thismusic becomes perceptible tohim once again, as ina metaphorical dream image,under the in1uence of

.pollonian dreaming $hatre1ection, which lacks imageryand ideas, of the original pain inthe music, together with itsredemption in illusion, gi!esrise now to a second re1ection


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as a particular metaphor orillustration $he artist hasalready surrendered hissub@ecti!ity in the ?ionysianprocessB the image which now

re!eals to him his unity with theheart of the world is a dreamscene, which symbolizes thatoriginal contradiction and pain,together with the primordial @oyin illusion $he 4I8 of the lyricpoet thus echoes out of theabyss of being 2hat recentaestheticians mean by his4sub@ecti!ity8 is mere fantasy2hen .rchilochus, the 'rst3reek lyric poet, announces hisraging lo!e and, simultaneously,his contempt for the daughtersof Gycambes, it is not his ownpassion which dances in front of us in an orgiastic frenzy# we see?ionysus and the maenadsB wesee the intoxicated re!eller

.rchilochus sunk down in sleep9as Euripides describes it for

us in the Bacchae, asleep in ahigh .lpine meadow in themidday sun9and now .pollosteps up to him and touches himwith his laurel $he ?ionysianmusical enchantment of thesleeper now, as it were, 1ashesaround him 'ery images, lyricalpoems, which are called, intheir highest form, tragediesand dramatic dithyrambs

$he plastic artist, as well as hisrelation, the epic poet, isabsorbed in the purecontemplation of images $he?ionysian musician totally lackse!ery image and is in himselfonly and entirely the originalpain and original re!erberationof that image $he lyrical geniusfeels a world of images and

metaphors grow up out of themysterious state of unity and of


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renunciation of the self $heseha!e a colour, causality, andspeed entirely di-erent fromthat world of the plastic artistand of the writer of epic 2hile

the last of these (the epic poet)li!es in these pictures and onlyin them with @oyful contentmentand does not get tired ofcontemplating them with lo!e,right down to the smallestdetails, and while e!en theimage of the angry .chilles isfor him only a picture whoseexpression of anger he en@oyswith that dream @oy in illusions9so that he, by this mirror ofappearances, is protectedagainst the de!elopment of thatsense of unity and of beingfused together with the formshe has created9the images ofthe lyric poet are, by contrastnothing but he himself and, as itwere, only di-erentob@ecti'cations of himself 0e

can say 4I8 because he is themo!ing central point of thatworldB only this 4I8 is not thesame as the 4I8 of the awake,empirically real man, but thesingle 4I8 of true and eternalbeing in general, the 4I8 restingon the foundation of things,through the portrayal of whichthe lyrical genius looks rightinto that !ery basis of things

Now, let&s imagine next how healso looks upon himself amongthese likenesses, as a non:genius, that is, as his own46ub@ect,8 the entire unrulycrowd of sub@ecti!e passionsand stri!ing of his will aiming atsomething particular, whichseems real to him If it nowappears as if the lyrical geniusand the non:genius bound upwith him were one and thesame and as if the 'rst of these


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spoke that little word 4I8 abouthimself, then this illusion couldnow no longer decei!e us, not atleast in the way it decei!edthose who ha!e de'ned the

lyricist as a sub@ecti!e poet $otell the truth, .rchilochus, theman of passionately burninglo!e and hate, is only a !ision of the genius who is by this timeno longer .rchilochus but aworld genius and who expresseshis primordial pain symbolicallyin .rchilochus as a metaphorfor manB whereas, thatsub@ecti!ely willing and desiringman .rchilochus can generallyne!er e!er be a poet It is not atall essential that the lyric poetsee directly in front of him onlythe phenomenon of the man

.rchilochus as a re1ection ofeternal being, and tragedyshows how far the !isionaryworld of the lyric poet candistance itself from that

phenomenon clearly standingnear at hand

/chopenhauer , who did not hidefrom the di-iculty which thelyric poet creates for thephilosophical obser!ation of art,belie!ed that he had disco!ereda solution, something which Icannot go along with, when inhis profound metaphysics of

music he alone found a way ofsetting that di-iculty decisi!elyto one side, as I belie!e I ha!edone here, in his spirit and withdue honour to him "or the sakeof comparison, here is how hedescribes the essential natureof song#

4$he consciousness of thesinger is 'lled with the sub@ectof willing, that is, his ownwilling, often as an unleashedsatis'ed willing (@oy), but also,


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and more often, as a restrictedwilling (sorrow), always asemotion, passion, a turbulentstate of feeling 0owe!er,alongside this condition and

simultaneous with it, the singer,through a glimpse at thesurrounding nature, becomesaware of himself as a sub@ect ofpure, will:less knowledge,whose imperturbable, blessedtranquilly now enters incontrast to the pressure of hisalways hindered, always stilllimited willing# the sensation ofthis contrast, this game backand forth, is basically whatexpresses itself in the totality of the song and what, in general,creates the lyrical state In thiscondition, pure understanding,as it were, comes to us, to sa!eus from willing and the pressureof willingB we follow along, butonly moment by moment# thewill, the memory of our

personal goals, constantlyremo!es this calmcontemplation from us, but o!erand o!er again the nextbeautiful setting, in which purewill:less knowledge presentsitself to us once again& enticesus away from willing 0ence, inthe song and the lyrical mood,willing (the personal interest inpurposes) and pure

contemplation of the settingwhich re!eals itself aremiraculously mixed up together#we seek and imaginerelationships between thembothB the sub@ecti!e mood, theemotional state of the will,communicates with thesurroundings we contemplate,and the latter, in turn, gi!e theircolour to our mood, in a re1exaction $he true song is theexpression of this entire


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emotional condition, mixed anddi!ided in this way8 (7orld as7ill and Idea, IF)

2ho can fail to recognize in thisdescription that here the lyrichas been characterized as anincompletely realized art, aleap, as it were, which seldomattains its goal, indeed, as asemi:art, whose essence is toconsist of the fact that the willand pure contemplation, that is,the unaesthetic and theaesthetic conditions, must bemiraculously mixed up

together> In contrast to this, wemaintain that the entireopposition of the sub@ecti!e andthe ob@ecti!e, which e!en6chopenhauer still uses as ameasurement of !alue toclassify art, has generally noplace in aesthetics, since thesub@ect, the willing indi!idualdemanding his own egotisticalpurposes, can only be thought

of as an enemy of art, not as itsorigin ut insofar as thesub@ect is an artist, he is alreadyreleased from his indi!idualwilling and has become, so tospeak, a medium, throughwhich a sub@ect of true beingcelebrates its redemption inillusion "or we need to be clearon this point, abo!e e!erything

else, to ourhumiliation andennoblement#the entire comedy of artdoes not present itself for us inorder to make us, for example,better or to educate us, e!enless because we are the actualcreators of that art world 2eare, howe!er, entitled to assumethis about oursel!es# for thetrue creator of that world we

are already pictures and artisticpro@ections and in the meaning


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of works of art we ha!e ourhighest dignity 9for only asan aesthetic phenomenon areexistence and the worldeternally 1usti3ed9while, of

course, our consciousness ofour own signi'cance is scarcelyany di-erent from theconsciousness which soldierspainted on can!as ha!e of thebattle portrayed there 0enceour entire knowledge of art isbasically completely illusory,because, as knowing people, weare not one with and identicalto that being who, as the singlecreator and spectator of thatcomedy of art, prepares foritself an eternal en@oyment5nly to the extent that thegenius in the act of artisticcreation is fused with thatprimordial artist of the worlddoes he know anything aboutthe eternal nature of art, for inthat state he is, in a miraculous

way, like the weird picture offairy tales, which can turn itseyes and contemplate itselfNow he is simultaneouslysub@ect and ob@ect,simultaneously poet, actor, andspectator

/

2ith respect to .rchilochus,learned scholarship has

re!ealed that he introducedthe fol" song into literature andthat, because of thisachie!ement, he earned thatindi!idual place next to 0omerin the uni!ersal estimation ofthe 3reeks ut what is the folksong in comparison to thecompletely .pollonian epicpoem> 2hat elsebut the perpetuum vestigumthe eternal mar"- of a unionbetween the .pollonian and the


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?ionysianB its tremendousexpansion, extending to allpeoples and constantlyincreasing with new births,testi'es to us how strong that

artistic double dri!e of natureis, which lea!es its trace behindin the folk song, @ust as, in ananalogous manner, the orgiasticmo!ements of a people lea!etheir mark in its music In fact,there must also ha!e beenhistorical e!idence to show howe!ery period richly producti!eof folk songs at the same timehas been stirred in the mostpowerful manner by ?ionysiancurrents, something which weha!e to recognize always as thefoundation and precondition offolk song

ut to begin with, we must !iewthe folk song as the musicalmirror of the world, as theprimordial melody, which nowseeks for a parallel dream

image of itself and expressesthis in poetry The melody isthus the primary and universal

fact, for which reason it can initself undergo manyob@ecti'cations, in se!eral textsIt is also far more importantand more essential in the nai!ee!aluations of the people7elody gi!es birth to poetry

from itself, o!er and o!er again$hat is what the strophic formof the fol" song indicates to usI always obser!ed thisphenomenon withastonishment, until I 'nallycame up with this explanation2hoe!er looks at a collection of folk songs, for example, 6es

?naben 7underhorn The Boy@s 0agic


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fecund melody emits 'eryshowers of images around itself$hese images, with their brightcolours, their sudden alteration,indeed, their wild momentum,

re!eal a power completelyforeign to the epic illusion andits calm forward progress "romthe point of !iew of epic thisune!en and irregular world ofimages in the lyric is easy tocondemn9something no doubtthe solemn epic rhapsodists ofthe .pollonian celebrations didin the age of $erpander%

$hus, in the poetry of the folksong we see languagemost strongly pressured toimitate music 0ence, with

.rchilochus a new world ofpoetry begins, something whichcon1icts in the most profoundand fundamental way with the0omeric world 0ere we ha!edemonstrated the one possiblerelationship between poetry and

music, word, and tone# theword, the image, the idea lookfor an analogous expression inmusic and now experience theinherent power of music In thissense we can distinguish twomain streams in the history ofthe language of the 3reekpeople, corresponding tolanguage which imitates

appearance and images orlanguage which imitates theworld of music Now, let&s thinkfor a moment more deeplyabout the linguistic di-erencein colour, syntactic structure,and !ocabulary between 0omerand %indar in order to grasp thesigni'cance of thiscontrast% Indeed, in this way itwill become crystal clear to us

that between 0omer and %indarthe orgiastic 4ute melodies of



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;lympus must ha!e rung out,which e!en in the time of

.ristotle, in the midst of amusic in'nitely moresophisticated, dro!e people into

raptures of drunken enthusiasmand with their primordial e-ectcertainly stimulated all thepoetical forms of expression ofcontemporaries to imitate themI recall here a well:knownphenomenon of our own times,something which strikes ouraestheticians as merelyob@ectionable .gain and againwe experience how a eetho!ensymphony makes it necessaryfor the indi!idual listener to talk in images, e!en if it is also truethat the collection of di-erentworlds of imagery created by amusical piece really looksfantastically confused, indeed,contradictory In the art of thoseaestheticians the proper thingto do is to exercise their poor

wits on such collections and yetto o!erlook the phenomenonwhich is really worthexplaining In fact, e!en whenthe tone poet has spoken inimages about a composition, forexample, when he describes asymphony as a pastoral and onemo!ement as 4. 6cene by therook,8 another as 4. "rolicking3athering of %easants,8 these

expressions are similarly onlymetaphors, images born out ofthe music9and not someob@ecti!e condition imitated bythe music9ideas which cannotteach us anything at all aboutthe 6ionysian content of themusic and which, in fact, ha!eno exclusi!e !alue alongsideother pictures Now, we ha!eonly to transfer this process ofunloading music into pictures toa youthful, linguistically


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creati!e crowd of people inorder to sense how the strophicfolk song arises and how theentire linguistic capability isstimulated by the new principle

of imitating musicIf we are thus entitled toconsider the lyrical poem as themimetic eDorescence of musicin pictures and ideas, then wecan now ask the followingquestion# 42hat doesmusic loo" like in the mirror ofimagery and ideas>8 It appearsas the !ill, taking that word in

6chopenhauer&s sense, that is,as the opposite to the aesthetic,purely contemplati!e, will:lessstate 0ere we must nowdi-erentiate as sharply aspossible the idea of being fromthe idea of appearance# it isimpossible for music, gi!en itsnature, to be the will, because if that were the case we wouldha!e to ban music entirely from

the realm of art9for the willconsists of what is inherentlyunaesthetic9but music appearsas the will "or in order toexpress that appearance inimages, the lyric poet needs allthe excitements of passion,from the whispers of a-ectionright up to the ra!ings oflunacy Mnder the impulse to

speak of music in .pollonianmetaphors, he understands allnature and himself in natureonly as eternal willing, desiring,

yearning 0owe!er, insofar ashe interprets music in images,he himself is resting in the stilltranquillity of the sea of

.pollonian obser!ation, nomatter how much e!erythingwhich he contemplates through

that medium of music is mo!ingaround him, pushing and


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dri!ing Indeed, if he looks athimself through that samemedium, his own image re!ealsitself to him in a state ofemotional dissatisfaction# his

own willing, yearning, groaning,cheering are for him ametaphor with which heinterprets the music for himself$his is the phenomenon of thelyric poet# as an .polloniangenius, he interprets the musicthrough the image of the will,while he himself, fully releasedfrom the greed of the will, is apure, untroubled eye of the sun

$his entire discussion 'rmlymaintains that the lyric is @ustas dependent on the spirit ofmusic as is music itself In itsfully absolute power, music doesnot need image and idea, butonly tolerates them assomething additional to itself$he poetry of the lyricist canexpress nothing which was not

already latent in the mostimmense uni!ersality and

!alidity of the music, whichforces him to speak in images$he world symbolism of musicfor this !ery reason cannot inany way be exhausted by orreduced to language, becausemusic addresses itselfsymbolically to the primordial

contradiction and pain in theheart of the original oneness,and thus presents in symbolicform a sphere which is abo!e allappearances and prior to themIn comparison with music, eachappearance is far more a meremetaphor# hence, language, as

!oice and symbol ofappearances, can ne!er e!ercon!ert the deepest core of

music to something external,but always remains, as long as


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it in!ol!es itself with theimitation of music, only insuper'cial contact with themusic $he full eloquence oflyric poetry cannot bring us one

step closer to the deepestmeaning of music

*

2e must now seek assistancefrom all the artistic principleslaid out abo!e, in order to 'ndour way correctly through thelabyrinth, a descripti!e term weha!e to use to designate theorigin of ree" tragedy I do not

think I am saying anythingillogical when I claim that theproblem of this origin still hasnot once been seriouslyformulated up to now, let alonesol!ed, no matter howfrequently the scattered scrapsof ancient tradition ha!ealready been combined with oneanother and then torn apart

once more $his tradition tellsus !ery emphatically thattragedy developed out of thetragic chorus and originallyconsisted only of a chorus andnothing else $his fact requiresus to look into the heart of thistragic chorus as the essentialoriginal drama, withoutallowing oursel!es to besatis'ed at all with the common

ways of talking about art9thatthe chorus is the ideal spectatoror had the @ob of standing in forthe people o!er against theroyal area of

eng - rojstvo tragedije

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