The Birth of Tragedy and the Case of Wagner

This is a question: does this copy of the Birth of Tragedy include the prefacing essay, "An Attempt at Self-Criticism"? Thank you :)

.The Birth of Tragedy, Nietzsche's first book. Why have I read it? Three reasons. One, I am studying ancient Greek culture. Secondly, I love to learn anything from mysticism, spiritual and Eastern thought, psychology and philosophy and again Grecian thought of Plato, Socrates, Aristophanes, Sophocles and etc. Third, I've always admired Jim Morrison, a Rock singer and poet who was also influenced by Nietzsche, primarily his interpretation of ancient Greek tragedy, more specifically, "The Birth of Tragedy. And so I've read it. Now Walter Kaufman's translation agrees with me and I think it one of the best in understanding and clarity. This book is a great read and answers so many questions and thoughts. But ultimately I found something I never intended on thinking and it's staring me right in the face with bold assertiveness. I honestly never expected to find this. First Nietzsche does a superb job in slamming the Socratic culture of logic, science and optimism, which I agree, has destroyed the real chaotic nature of true art, the Dionysus nature and that of the real meaning of tragedy. He is right on the money here. "Existence is only justified as an aesthetic phenomenon." Euripides has destroyed the Aeschylean and Sophoclean tragedy into Socratized thinking. The Dionysian element of chaos, of drunkenness and dissolution, of irrational art in it's raw existence is imaged by Apollo and necessary in conceptualization of the fleeting moment of depth that only resides in temporal flow of Dionysus and yet is destroyed by the scientific Socratized analysis. Euripides's plays have adopted such logic, lost the Dionysus, taken the optimism and linguistic clarity in destroying the satyr's chaotic hold of frenzy and creativity found in formless tragedy of music. The Apollonian form is imagery while the Dionysian forms the Apollonian. "Dionysian speaks the language of Apollo, and Apollo, finally the language of Dionysus and so the highest goal of tragedy and all art is obtained." P. 130 All of this, and much more, is brilliant and profound, but then, this now leads to something about German history, and is there in the flagrant words, of Nietzsche who calls for "The rebirth of tragedy," the rebirth of Greek tragedy. Where is this? In the German spirit. "Out of the Dionysian root of the German spirit a power has arisen which, having nothing in common with the primitive conditions of Socratic culture, can neither be explained nor excused by it, but which is rather felt by this culture as something terribly inexplicable and overwhelming hostile, the German music we must understand it. from Bach to Beethoven, and to Wagner." p. 119 What is this Dionysian root, this power from the German spirit.? Nietzsche symbolically calls it a "demon, " a power one that cannot be easily subdued, and it is rising from the unfathomable depths, which is against the Socratic logic and superficial optimism. And here Nietzsche goes further than music into a Dionysian spirit of German

Forget Wagner, whose disgruntled cacophony posing as music is nicely dispatched by Oscar Wilde in one of his plays with a comparative quip when somebody rings an old and disturbingly noisy doorbell. Forget Wagner because The Birth of Tragedy is the greatest work of art criticism ever written. It is also, despite being in print for a century, an underexplored gold mine for artists and intellectuals. This is Nietzsche's first book: it contains en ovo the thoughts of this great writer and thinker who had a formative influence on Heidegger and through him Derrida, the two greatest post-Nietzschean philosophers. Nietzsche's great theme is the infinite possibility opened up by Greek culture in 6th century B.C., in the time of Heraclitus and the birth of tragedy-the culture that spawned not only democracy and science but which, like a brood of many eggs only some of which have hatched (or quantum possibility before measurement "collapses" the wave function into reality)-much more besides--the culture beside whose tragedic productions (by Aeschylus and Sophocles, not Euripedes, whom Nietzsche shows lost touch with the essence of tragedy) modern cultural productions not only do not measure up, but often seem at best, as Nietzsche says, like a "caricature." The loss of art traced by Nietzsche is itself-well, not tragic, no-less than tragic: sad let us say. Not only a highly creative artist-like philosopher, but a multilingual philologist who read ancient Greek in the original, Nietzsche beams his laser-like analysis with astounding clarity into this lost realm of possibility. It is as if he stuck a bookmark into the Tome of Time, showing us the very best part of an otherwise often dry and rather bad (and perhaps overly long!) book of which we collectively are the author, called Culture. What is crucial to emphasize in B of T is Nietzsche's conclusion (or assumption) that (in its most famous line) "existence is only justified as an aesthetic phenomenon." Thus ancient Greek tragedy is not just a random subject, or one art form among others. It is the aesthetic experience par excellence, the greatest overcoming of the perils of existence into a worthy production of art humans ever developed. Nietzsche links the success of Aeschylean and Sophoclean tragedy to the brief fruitful intercourse (like that between men and women, which keeps new people coming despite often-fractious sexual relationships) between two aesthetic strains. One he identifies with the Greek messenger god of the sun, Apollo, the other with the dismembered god of wine, Dionysos. Dionysos also is not one god among others. Rather, it was to him that all the (originally religious) tragedies were devoted and, Nietzsche tells us, when other actors appeared on the sacred precursor to the Greek stage they were not to be taken as realistic but as avatars, idealized other versions, of Dionysos. Now the most crucial thing to realize about Dionysos is that "he" is split into pieces and his split piece

The ideas of Friedrich Nietzsche has had considerable influence on much of twentieth century philosophy and other areas as well. Indeed, the modern dance technique of Doris Humphrey is one of the many, and was taken to be based on his distinction between the Apollinian and Dionysian duality. Walter Kaufmann, the translator and commentator of this book, has given the reader a distinct view of Nietzsche in two of his works, the "Birth of Tragedy" being his first, and one of his last, "The Case of Wagner". Nietzsche was one of the few philosophers who engaged in self-criticism, and is the most honest of all philosophers who took to the pen. This is indeed manifest in his "Attempt at a Self-Criticism", which was added to the 1886 edition of "The Birth of Tragedy". Nietzsche attempted to view the nature of truth without any masks, and his need to do this resulted in his works perhaps being more of a dialog with himself than with his readers. With every line written, Nietzsche was making sure that he himself was convinced of what was put down on paper. But this must at all times be done without "arresting the play" and negating the "terrors of existence". Kaufmann represents "The Birth of Tragedy" as a work that allowed Nietzsche to justify his appointment to a full chair of philology at the young age of 25, but also a book that would not appeal to anyone in German academic circles. It would appear that Nietzsche was determined to remain independent, and not become intoxicated with the "prestige" of being appointed to such a position at such an early age. Nietzsche's later criticism of his own work would seem to justify this interpretation. This total intellectual honesty of Nietzsche is unique in the history of philosophy. What is most valuable about "The Birth of Tragedy" is its restatement of Greek life and culture, which up to Nietzsche's time was conceived in terms of the "Winckelmann view" according to Kaufmann. The "noble simplicity, calm grandeur" of Goethe and the "sweetness and light" of Matthew Arnold were the appropriate adjectives for Greek culture. But Nietzsche brought in the Dionysian festivals, as another aspect of it, and its longing, in the words of Kaufmann, to "exceed all norms". This insight of Nietzsche has wide-ranging applications, for it points to the need of all cultures, and thus all individuals, to at times attend the Dionysian festival and get out of equilibrium, remain for awhile off-balance, and get intoxicated with the dance of unreason. But with intellectual honesty towards oneself comes the same for others, and Nietzsche did not hesitate to depart with friends when there was conflict with this honesty. Thus Nietzsche wrote "The Case of Wagner", a very damning indictment against his former friend Richard Wagner, and a book which Nietzsche subtitled "A Musician's Problem". Nietzsche describes his reasons for writing at it as a consequence of a "special self-discipline: to take sides against everything sick in me". T

Nietzsche's writing style when viewed, as art is itself a remarkable example, par excellence, of the very topic he discusses-in The Birth of Tragedy-put into practice. It is ubiquitously bursting forth with such abundance (Dionysian)-yet streamlined by the infinite depth of his perceptions (Socratic)-that he illuminates the art of the entire Greek Civilization with elegant simplicity, compassion, and courage (Apollonian). Nietzsche was one of the first to analyze Greek art in terms of its psychological ramifications-both conscious and unconscious. He posits that the two driving forces for art-whether it was painting, sculpture, music, or tragedy- required a mixture of the gods, Dionysus (Pan) and Apollo, whose virtues were synonymous with nature, but nearly bipolar. Apollo, the Delphic god, requires self-knowledge and demands that his disciples exorcize prudence in action; however, Dionysus demands complete abandon and excess. One cannot exist without the other: Apollo, though despising all misery and barbaric acts, knew that his existence depended upon that of Dionysus.According to Nietzsche, Art stems directly from nature; it is not an imitation or reflection; therefore, the artist must commune with the gods and nature in order to render any art as such. The artist desires art to be 'the unvarnished expression of the truth' of the world; hence, Art is eternal universal truth. Art should achieve a fusion between the subjective and objective, hence, the artistic creation is 'like the weird image of the fairy tale which can turn its eyes at will and behold itself'. Dionysus is the primordial artistic power that conjures the entire universe into being. It is a communal or collective consciousness, which exists in every individual just as every individual, exists in Dionysus. There is a complete absence of duality between individual and collective consciousness, hence, the individual transcends the limits of existence and becomes one with the collective mind who speaks with one voice-Art. Dionysus reveals the true nature of life as 'bliss born of pain'. Nature communicates its wisdom through the agency of pathos; it wishes to share its suffering and some of the truths in the world. The paragon of Greek art is the tragedy. Tragedy takes place where Apollo and Dionysus have entwined perfectly forming a hybrid braid. The Dionysian Satyr is the incarnation of tragedy and exists within the realm of the gods as myth and cult. Tragedy transforms one into a Satyr. It is sudden and powerful: the Satyr dominated the "man of culture", 'like lamplight is nullified by the light of day'. This caused the tragedy to lead one back to the primal core of nature where one may stare boldly, directly into the destructiveness and cruelty of nature, which imbues one with such profound insight into the horrendous truth, that one is smitten listless with the absurdity of all worldly existence. True knowledge negates existence and the will to act-one asks, what good would it

In this work, Nietzsche theorizes that Greek tragedy was built upon the wedding of two principles, which he associated with the deities Apollo and Dionysius. The Apollonian principle, in keeping with the characteristics of the sun god Apollo, is the principle of order, static beauty and clear boundaries. The Dionysian principle, in contrast, is the principle of frenzy, excess, and the collapse of boundaries.These principles offered perspectives on the position of the individual human being, but perspectives that were radically opposed to one another. The Appollonian principle conceived the individual as sufficiently separate from the rest of reality to be able to contemplate it dispassionately. The Dionysian principle, however, presents reality as a tumultuous flux in which individuality is overwhelmed by the dynamics of a living whole. Nietzsche believed that a balance of these principals is essential if one is both to recognize the challenge to one's sense of meaning posed by individual vulnerability and to recognize the solution, which depends on one's sense of oneness with a larger reality. Greek tragedy, as he saw it, confronted the issue of life's meaning by merging the perspectives of the two principles.The themes of Greek tragedy concerned the worst case scenario from an Apollonian point of view--the devastation of vulnerable individuals. Scholarship had concluded that the chanting of the chorus was the first form of Athenian tragedy. Nietzsche interpreted the effect of the chorus as the initiation of a Dionysian experience on the part of the audience. Captivated by music, audience members abandoned their usual sense of themselves as isolated individuals and felt themselves instead to be part of a larger, frenzied whole.This sense of self as part of a dynamic whole gave a different ground for experiencing life as meaningful than one would recognize in the more typical Apollonian condition, which entails a certain psychic distance. Feeling oneself to be part of the joyous vitality of the whole, one could take participation in life to be intrinsically wonderful, despite the obvious vulnerabilities one experiences as individual. The aesthetic transformation of the audience member's sense of the significance of individual life aroused a quasi-religious affirmation of life's value. "It is only as an aesthetic phenomenon that existence and the world are eternally justified," Nietzsche concluded.The function of characters and drama later added to tragedy depended on the fundamental, enthralled experience of oneness with the chorus, according to Nietzsche. Already incited to a Dionysian state before the tragic hero appeared on stage, the audience would see the character before them as a manifestation of the god Dionysius. Unfortunately, Euripides restructured tragedy in such a way that the chorus' role was diminished. Euripides wrote plays that would encourage an Appollonian stance of objective interest in the drama. Nietzsche con