The Birth of Tragedy [비극의 탄생]

Nietzsche, Friedrich 지음

낙소스 2024년 09월 13일 출간

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Friedrich Nietzsche’s The Birth of Tragedy out of the Spirit of Music was published in 1872. In 1869, at the age of 24, he had been appointed a professor of classical philology at the University of Basel, a remarkable position for one of his age, and the book was his first significant publication. It did little, however, to help his reputation as a scholar; his views were controversial and aroused strong criticism in some quarters, while his deliberate espousal of the cause of the composer Richard Wagner was, to say the least, unhelpful. Nietzsche later revised his views on Wagner and re-issued The Birth of Tragedy in 1886 under the title The Birth of Tragedy, or Hellenism and Pessimism, introducing it with An Attempt at a Self-Criticism. The present reading includes this last, his 1871 Preface to Richard Wagner and the original book itself, with its famous discussion of the Apollonian and Dionysian in Greek tragedy.<BR><BR>The Birth of Tragedy out of the Spirit of Music<BR>One<BR>Now, just as the philosopher behaves<BR>In the same place Schopenhauer also described for us<BR>Two<BR>In these Greek festivals<BR>Three<BR>In order to be able to live<BR>Four<BR>This deification of individuation<BR>Five<BR>The plastic artist, as well as his relation, the epic poet<BR>Schopenhauer, who did not hide from the difficulty<BR>Six<BR>If we are thus entitled to consider the lyrical poem<BR>Seven<BR>But that emphatic tradition speaks here<BR>On this last point<BR>Eight<BR>The satyr chorus is, first and foremost<BR>This conception of ours<BR>Nine<BR>There was a very ancient folk belief<BR>The Prometheus saga is a primordial possession<BR>Ten<BR>It has been pointed out earlier<BR>Eleven<BR>The new comedy could now direct its attention<BR>By contrast, it is, in fact, well known everywhere<BR>Twelve<BR>Now, how is Euripides' work related to this ideal of Apollonian drama?<BR>As long as the listener still has to figure out<BR>Thirteen<BR>That is the immensely disturbing thing<BR>Fourteen<BR>For who can fail to recognize the optimistic element<BR>Fifteen<BR>With that statement the fundamental secret of science is unmasked<BR>With respect to this practical pessimism<BR>Sixteen<BR>Perhaps we can touch on that original problem<BR>Now, when in a particular case<BR>Seventeen<BR>At this point we are concerned with the question<BR>From another perspective<BR>Eighteen<BR>While the disaster slumbering in the bosom of theoretical culture<BR>Nineteen<BR>For us now it is unimportant<BR>Now we can immediately draw attention here<BR>However, if in the explanation given above<BR>Twenty<BR>There is no other artistic period<BR>Twenty One<BR>Trusting in this noble deception<BR>And where we breathlessly imagined we were dying<BR>But nonetheless we could just as surely claim<BR>Twenty Two<BR>That pathological purgation<BR>Twenty Three<BR>I know that now I have to take the sympathetic friend<BR>Twenty Four<BR>Here it is necessary for us to vault with a bold leap<BR>Twenty Five<BR>Postscript<BR>One<BR>Two<BR>Three<BR>Four<BR>Five<BR>Six<BR>Seven

목차

The Birth of Tragedy out of the Spirit of Music
One
Now, just as the philosopher behaves
In the same place Schopenhauer also described for us
Two
In these Greek festivals
Three
In order to be able to live
Four
This deification of individuation
Five
The plastic artist, as well as his relation, the epic poet
Schopenhauer, who did not hide from the difficulty
Six
If we are thus entitled to consider the lyrical poem
Seven
But that emphatic tradition speaks here
On this last point
Eight
The satyr chorus is, first and foremost
This conception of ours
Nine
There was a very ancient folk belief
The Prometheus saga is a primordial possession
Ten
It has been pointed out earlier
Eleven
The new comedy could now direct its attention
By contrast, it is, in fact, well known everywhere
Twelve
Now, how is Euripides' work related to this ideal of Apollonian drama?
As long as the listener still has to figure out
Thirteen
That is the immensely disturbing thing
Fourteen
For who can fail to recognize the optimistic element
Fifteen
With that statement the fundamental secret of science is unmasked
With respect to this practical pessimism
Sixteen
Perhaps we can touch on that original problem
Now, when in a particular case
Seventeen
At this point we are concerned with the question
From another perspective
Eighteen
While the disaster slumbering in the bosom of theoretical culture
Nineteen
For us now it is unimportant
Now we can immediately draw attention here
However, if in the explanation given above
Twenty
There is no other artistic period
Twenty One
Trusting in this noble deception
And where we breathlessly imagined we were dying
But nonetheless we could just as surely claim
Twenty Two
That pathological purgation
Twenty Three
I know that now I have to take the sympathetic friend
Twenty Four
Here it is necessary for us to vault with a bold leap
Twenty Five
Postscript
One
Two
Three
Four
Five
Six
Seven

작가정보

저자(글) Nietzsche, Friedrich

Friedrich Nietzsche (1844–1900) occupies a unique place in the history of modern philosophy. His work is obviously a direct challenge to all traditional philosophy, but his style is so unique that there is much dispute about how one should interpret his ideas. For Nietzsche does not offer a systematic approach in the usual way, but launches short vigorous attacks on particular philosophical problems and ad hominem assaults on particular philosophers in an extraordinarily personal and provocative style, which, in addition, often relies upon ambiguous aphorisms and sweeping and speculative historical generalizations and reconstructions. Hence, questions have been raised about whether he should be considered a philosopher at all.

낭독 Duncan Steen