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Die Geburt der Tragödie
Friedrich Wilhelm Nietzsche
(1872)

Downloading books is available only for authorized users

Downloading books is available only for authorized users

Die Geburt der Tragödie The Birth of Tragedy

1. 1.
Was auch diesem fragwürdigen Buche zu Grunde liegen mag: es muss eine
Frage ersten Ranges und Reizes gewesen sein, noch dazu eine tief
persönliche Frage, - Zeugniss dafür ist die Zeit, in der es entstand,
trotz der es entstand, die aufregende Zeit des deutsch-französischen
Krieges von 1870/71. Während die Donner der Schlacht von Wörth über
Europa weggiengen, sass der Grübler und Räthselfreund, dem die
Vaterschaft dieses Buches zu Theil ward, irgendwo in einem Winkel der
Alpen, sehr vergrübelt und verräthselt, folglich sehr bekümmert und
unbekümmert zugleich, und schrieb seine Gedanken über die Griechen
nieder, - den Kern des wunderlichen und schlecht zugänglichen Buches,
dem diese späte Vorrede (oder Nachrede) gewidmet sein soll. Einige
Wochen darauf: und er befand sich selbst unter den Mauern von Metz,
immer noch nicht losgekommen von den Fragezeichen, die er zur
vorgeblichen "Heiterkeit" der Griechen und der griechischen Kunst
gesetzt hatte; bis er endlich in jenem Monat tiefster Spannung, als
man in Versailles über den Frieden berieth, auch mit sich zum Frieden
kam und, langsam von einer aus dem Felde heimgebrachten Krankheit
genesend, die "Geburt der Tragödie aus dem Geiste der Musik"
letztgültig bei sich feststellte. - Aus der Musik? Musik und Tragödie?
Griechen und Tragödien-Musik? Griechen und das Kunstwerk des
Pessimismus? Die wohlgerathenste, schönste, bestbeneidete, zum Leben
verführendste Art der bisherigen Menschen, die Griechen - wie?
gerade sie hatten die Tragödie nöthig? Mehr noch - die Kunst? Wozu -
griechische Kunst?

Man erräth, an welche Stelle hiermit das grosse Fragezeichen vom
Werth des Daseins gesetzt war. Ist Pessimismus nothwendig das Zeichen
des Niedergangs, Verfalls, des Missrathenseins, der ermüdeten und
geschwächten Instinkte? - wie er es bei den Indern war, wie er es,
allem Anschein nach, bei uns, den "modernen" Menschen und Europäern
ist? Giebt es einen Pessimismus der Stärke? Eine intellektuelle
Vorneigung für das Harte, Schauerliche, Böse, Problematische des
Daseins aus Wohlsein, aus überströmender Gesundheit, aus Fülle des
Daseins? Giebt es vielleicht ein Leiden an der Ueberfülle selbst?
Eine versucherische Tapferkeit des schärfsten Blicks, die nach dem
Furchtbaren verlangt, als nach dem Feinde, dem würdigen Feinde, an
dem sie ihre Kraft erproben kann? an dem sie lernen will, was "das
Fürchten" ist? Was bedeutet, gerade bei den Griechen der besten,
stärksten, tapfersten Zeit, der tragische Mythus? Und das ungeheure
Phänomen des Dionysischen? Was, aus ihm geboren, die Tragödie? - Und
wiederum: das, woran die Tragödie starb, der Sokratismus der Moral,
die Dialektik, Genügsamkeit und Heiterkeit des theoretischen Menschen
- wie? könnte nicht gerade dieser Sokratismus ein Zeichen des
Niedergangs, der Ermüdung, Erkrankung, der anarchisch sich lösenden
Instinkte sein? Und die "griechische Heiterkeit" des späteren
Griechenthums nur eine Abendröthe? Der epikurische Wille gegen den
Pessimismus nur eine Vorsicht des Leidenden? Und die Wissenschaft
selbst, unsere Wissenschaft - ja, was bedeutet überhaupt, als Symptom
des Lebens angesehn, alle Wissenschaft? Wozu, schlimmer noch, woher -
alle Wissenschaft? Wie? Ist Wissenschaftlichkeit vielleicht nur eine
Furcht und Ausflucht vor dem Pessimismus? Eine feine Nothwehr gegen -
die Wahrheit? Und, moralisch geredet, etwas wie Feig- und Falschheit?
Unmoralisch geredet, eine Schlauheit? Oh Sokrates, Sokrates, war das
vielleicht dein Geheimniss? Oh geheimnissvoller Ironiker, war dies
vielleicht deine - Ironie? - -

Whatever might have been be the basis for this dubious book, it must have been a question of the utmost importance and charm, as well as a deeply personal one. Testimony to that effect is the time in which it arose
(in spite of which it arose), that disturbing era of the Franco-Prussian war of 1870-71. While the thunderclap of the Battle of Worth was reverberating across Europe, the meditative lover of enigmas whose lot it was to father this book sat somewhere in a corner of the Alps, extremely reflective and perplexed (thus simultaneously very distressed and carefree) and wrote down his thoughts concerning the Greeks, the kernel of that odd and difficult book to which this later preface (or postscript) should be dedicated. A few weeks after that, he found himself under the walls of Metz, still not yet free of the question mark which he had set down beside the alleged "serenity" of the Greeks and of Greek culture, until, in that month of the deepest tension, as peace was being negotiated in Versailles, he finally came to peace with himself and, while slowly recovering from an illness he'd brought back home with him from the field, finished composing the Birth of
Tragedy out of the Spirit of Music. From music? Music and tragedy? The Greeks and the Music of Tragedy? The Greeks and the art work of pessimism? The most successful, most beautiful, most envied people, those with the most encouraging style of life — the Greeks? How can this be? Did they really need tragedy? Even more to the point, did they really need art? And Greek art, what is that, and how did it come about?

One can guess from all this just where the great question mark about the worth of existence was placed. Is pessimism necessarily the sign of collapse, destruction, and disaster, of the exhausted and enfeebled instinct, as it was among the Indians, as it is now, to all appearances, among us "modern" peoples and Europeans? Is there a pessimism of the strong? An intellectual inclination for what in existence is hard, dreadful, angry, and problematic, emerging from what is healthy, from overflowing well being, from living existence to the full? Is there perhaps a way of suffering from the very fullness of life, a tempting courage of the keenest sight which demands what is terrible, like an enemy — a worthy enemy — against which it can test its power, from which it will learn what "to fear" means? What does the tragic myth mean precisely for the Greeks of the best, strongest, and bravest age? What about that tremendous phenomenon of the Dionysian? And what about what was born out of the Dionysian — the tragedy? By contrast, what are we to make of what killed tragedy — Socratic morality, dialectic, the satisfaction and serenity of the theoretical man? Could not this very Socratic way be a sign of collapse, exhaustion, sickness, and the dissolution of the anarchic instinct? And could the "Greek serenity" of later
Greek periods be only a red sunset? Could the Epicurean will hostile to pessimism be merely the prudence of a suffering man? And even scientific enquiry itself, our science — indeed, what does all scientific enquiry in general mean considered as a symptom of life? What is the point of all that science and, even more serious, where did it come from? What about that? Is scientific scholarship perhaps only a fear and an excuse in the face of pessimism, a delicate self-defence against — the Truth? And speaking morally, something like cowardice and falsehood? Speaking unmorally, a clever trick? Oh, Socrates, Socrates, was that perhaps your secret? Oh you secretive ironist, was that perhaps your — irony?

angry: When someone is angry, they may want to speak loudly or fight.
clever: When someone is clever, they can solve a hard puzzle or problem.
finally: If something happens finally, it happens after a longtime or at the end.
lot: A lot means a large number or amount of people, animals, things, etc.
trick: A trick is something you do to fool another person.
well: You use well to say that something was done in a good way.
kill: To kill someone or something is to make them die.
secret: A secret is something that you do not tell other people.
terrible: If something is terrible, it is very bad.
among: If you are among certain things, they are all around you.
ever: Ever means at any time.
concern: Concern is a feeling of worry.
field: A field is a big area of land.
face: If you face a problem, you deal with it.
beside: When someone or something is beside you, they are next to you.
harm: Harm is hurt or problems caused to someone or something.
peace: Peace is a time without war.
contrast: A contrast is the sharp difference between two things.
success: Success is doing something well that you choose to do.
against: To be against something is to be touching it or opposed to it.
perhaps: Perhaps is used when you say that something could happen.
still: Still is used when you say that a situation keeps going on.
effect: An effect is a change made by something else.
sail: To sail is to move a boat on the water.
serious: When something is serious, it is bad or unsafe.
thin: If someone or something is thin, they are not fat.
demand: To demand something is to say strongly that you want it.
owe: To owe is to have to pay or give back something received from another.
sight: A sight is something interesting to see.
suffer: To suffer is to feel pain.
across: To go across something is to go to the other side of it.
extreme: If something is extreme, it is in a large amount or degree.
fear: Fear is the feeling of being afraid.
yet: Yet is used to say something has not happened up to now.
exist: To exist is to be real.
flow: To flow is to move easily and continuously in one direction.
solution: A solution is a way to solve a problem.
consider: To consider something means to think about it.
real: If something is real, it actually exists.
reflect: To reflect is when a surface sends back light, heat, sound or an image.
war: A war is a big fight between two groups of people.
worth: If something is worth an amount of money, it costs that amount.
appear: To appear is to seem.
later: Later means after the present, expected, or usual time.
though: Though is used when the second idea makes the first seem surprising.
earn: To earn means to get money for the work you do.
set: To set something is to put it somewhere.
period: A period is an amount of time when something happens.
sign: A sign is a notice giving information, directions, a warning, etc.
final: If something is final, it is the last part.
false: If something is false, it is not correct.
own: To own something means to have it. That thing belongs to you.
gain: If you gain something, you get more of it.
importance: Importance means the quality or condition of being needed or valued.
mean: Mean describes someone who is unkind or cruel.

Next chapter

Die Geburt der Tragödie Friedrich Wilhelm Nietzsche (1872)

Downloading books is available only for authorized users
Downloading books is available only for authorized users
Die Geburt der Tragödie		The Birth of Tragedy
1.		1.
Was auch diesem fragwürdigen Buche zu Grunde liegen mag: es muss eine Frage ersten Ranges und Reizes gewesen sein, noch dazu eine tief persönliche Frage, - Zeugniss dafür ist die Zeit, in der es entstand, trotz der es entstand, die aufregende Zeit des deutsch-französischen Krieges von 1870/71. Während die Donner der Schlacht von Wörth über Europa weggiengen, sass der Grübler und Räthselfreund, dem die Vaterschaft dieses Buches zu Theil ward, irgendwo in einem Winkel der Alpen, sehr vergrübelt und verräthselt, folglich sehr bekümmert und unbekümmert zugleich, und schrieb seine Gedanken über die Griechen nieder, - den Kern des wunderlichen und schlecht zugänglichen Buches, dem diese späte Vorrede (oder Nachrede) gewidmet sein soll. Einige Wochen darauf: und er befand sich selbst unter den Mauern von Metz, immer noch nicht losgekommen von den Fragezeichen, die er zur vorgeblichen "Heiterkeit" der Griechen und der griechischen Kunst gesetzt hatte; bis er endlich in jenem Monat tiefster Spannung, als man in Versailles über den Frieden berieth, auch mit sich zum Frieden kam und, langsam von einer aus dem Felde heimgebrachten Krankheit genesend, die "Geburt der Tragödie aus dem Geiste der Musik" letztgültig bei sich feststellte. - Aus der Musik? Musik und Tragödie? Griechen und Tragödien-Musik? Griechen und das Kunstwerk des Pessimismus? Die wohlgerathenste, schönste, bestbeneidete, zum Leben verführendste Art der bisherigen Menschen, die Griechen - wie? gerade sie hatten die Tragödie nöthig? Mehr noch - die Kunst? Wozu - griechische Kunst? Man erräth, an welche Stelle hiermit das grosse Fragezeichen vom Werth des Daseins gesetzt war. Ist Pessimismus nothwendig das Zeichen des Niedergangs, Verfalls, des Missrathenseins, der ermüdeten und geschwächten Instinkte? - wie er es bei den Indern war, wie er es, allem Anschein nach, bei uns, den "modernen" Menschen und Europäern ist? Giebt es einen Pessimismus der Stärke? Eine intellektuelle Vorneigung für das Harte, Schauerliche, Böse, Problematische des Daseins aus Wohlsein, aus überströmender Gesundheit, aus Fülle des Daseins? Giebt es vielleicht ein Leiden an der Ueberfülle selbst? Eine versucherische Tapferkeit des schärfsten Blicks, die nach dem Furchtbaren verlangt, als nach dem Feinde, dem würdigen Feinde, an dem sie ihre Kraft erproben kann? an dem sie lernen will, was "das Fürchten" ist? Was bedeutet, gerade bei den Griechen der besten, stärksten, tapfersten Zeit, der tragische Mythus? Und das ungeheure Phänomen des Dionysischen? Was, aus ihm geboren, die Tragödie? - Und wiederum: das, woran die Tragödie starb, der Sokratismus der Moral, die Dialektik, Genügsamkeit und Heiterkeit des theoretischen Menschen - wie? könnte nicht gerade dieser Sokratismus ein Zeichen des Niedergangs, der Ermüdung, Erkrankung, der anarchisch sich lösenden Instinkte sein? Und die "griechische Heiterkeit" des späteren Griechenthums nur eine Abendröthe? Der epikurische Wille gegen den Pessimismus nur eine Vorsicht des Leidenden? Und die Wissenschaft selbst, unsere Wissenschaft - ja, was bedeutet überhaupt, als Symptom des Lebens angesehn, alle Wissenschaft? Wozu, schlimmer noch, woher - alle Wissenschaft? Wie? Ist Wissenschaftlichkeit vielleicht nur eine Furcht und Ausflucht vor dem Pessimismus? Eine feine Nothwehr gegen - die Wahrheit? Und, moralisch geredet, etwas wie Feig- und Falschheit? Unmoralisch geredet, eine Schlauheit? Oh Sokrates, Sokrates, war das vielleicht dein Geheimniss? Oh geheimnissvoller Ironiker, war dies vielleicht deine - Ironie? - -		Whatever might have been be the basis for this dubious book, it must have been a question of the utmost importance and charm, as well as a deeply personal one. Testimony to that effect is the time in which it arose (in spite of which it arose), that disturbing era of the Franco-Prussian war of 1870-71. While the thunderclap of the Battle of Worth was reverberating across Europe, the meditative lover of enigmas whose lot it was to father this book sat somewhere in a corner of the Alps, extremely reflective and perplexed (thus simultaneously very distressed and carefree) and wrote down his thoughts concerning the Greeks, the kernel of that odd and difficult book to which this later preface (or postscript) should be dedicated. A few weeks after that, he found himself under the walls of Metz, still not yet free of the question mark which he had set down beside the alleged "serenity" of the Greeks and of Greek culture, until, in that month of the deepest tension, as peace was being negotiated in Versailles, he finally came to peace with himself and, while slowly recovering from an illness he'd brought back home with him from the field, finished composing the Birth of Tragedy out of the Spirit of Music. From music? Music and tragedy? The Greeks and the Music of Tragedy? The Greeks and the art work of pessimism? The most successful, most beautiful, most envied people, those with the most encouraging style of life — the Greeks? How can this be? Did they really need tragedy? Even more to the point, did they really need art? And Greek art, what is that, and how did it come about? One can guess from all this just where the great question mark about the worth of existence was placed. Is pessimism necessarily the sign of collapse, destruction, and disaster, of the exhausted and enfeebled instinct, as it was among the Indians, as it is now, to all appearances, among us "modern" peoples and Europeans? Is there a pessimism of the strong? An intellectual inclination for what in existence is hard, dreadful, angry, and problematic, emerging from what is healthy, from overflowing well being, from living existence to the full? Is there perhaps a way of suffering from the very fullness of life, a tempting courage of the keenest sight which demands what is terrible, like an enemy — a worthy enemy — against which it can test its power, from which it will learn what "to fear" means? What does the tragic myth mean precisely for the Greeks of the best, strongest, and bravest age? What about that tremendous phenomenon of the Dionysian? And what about what was born out of the Dionysian — the tragedy? By contrast, what are we to make of what killed tragedy — Socratic morality, dialectic, the satisfaction and serenity of the theoretical man? Could not this very Socratic way be a sign of collapse, exhaustion, sickness, and the dissolution of the anarchic instinct? And could the "Greek serenity" of later Greek periods be only a red sunset? Could the Epicurean will hostile to pessimism be merely the prudence of a suffering man? And even scientific enquiry itself, our science — indeed, what does all scientific enquiry in general mean considered as a symptom of life? What is the point of all that science and, even more serious, where did it come from? What about that? Is scientific scholarship perhaps only a fear and an excuse in the face of pessimism, a delicate self-defence against — the Truth? And speaking morally, something like cowardice and falsehood? Speaking unmorally, a clever trick? Oh, Socrates, Socrates, was that perhaps your secret? Oh you secretive ironist, was that perhaps your — irony?
		angry: When someone is angry, they may want to speak loudly or fight. clever: When someone is clever, they can solve a hard puzzle or problem. finally: If something happens finally, it happens after a longtime or at the end. lot: A lot means a large number or amount of people, animals, things, etc. trick: A trick is something you do to fool another person. well: You use well to say that something was done in a good way. kill: To kill someone or something is to make them die. secret: A secret is something that you do not tell other people. terrible: If something is terrible, it is very bad. among: If you are among certain things, they are all around you. ever: Ever means at any time. concern: Concern is a feeling of worry. field: A field is a big area of land. face: If you face a problem, you deal with it. beside: When someone or something is beside you, they are next to you. harm: Harm is hurt or problems caused to someone or something. peace: Peace is a time without war. contrast: A contrast is the sharp difference between two things. success: Success is doing something well that you choose to do. against: To be against something is to be touching it or opposed to it. perhaps: Perhaps is used when you say that something could happen. still: Still is used when you say that a situation keeps going on. effect: An effect is a change made by something else. sail: To sail is to move a boat on the water. serious: When something is serious, it is bad or unsafe. thin: If someone or something is thin, they are not fat. demand: To demand something is to say strongly that you want it. owe: To owe is to have to pay or give back something received from another. sight: A sight is something interesting to see. suffer: To suffer is to feel pain. across: To go across something is to go to the other side of it. extreme: If something is extreme, it is in a large amount or degree. fear: Fear is the feeling of being afraid. yet: Yet is used to say something has not happened up to now. exist: To exist is to be real. flow: To flow is to move easily and continuously in one direction. solution: A solution is a way to solve a problem. consider: To consider something means to think about it. real: If something is real, it actually exists. reflect: To reflect is when a surface sends back light, heat, sound or an image. war: A war is a big fight between two groups of people. worth: If something is worth an amount of money, it costs that amount. appear: To appear is to seem. later: Later means after the present, expected, or usual time. though: Though is used when the second idea makes the first seem surprising. earn: To earn means to get money for the work you do. set: To set something is to put it somewhere. period: A period is an amount of time when something happens. sign: A sign is a notice giving information, directions, a warning, etc. final: If something is final, it is the last part. false: If something is false, it is not correct. own: To own something means to have it. That thing belongs to you. gain: If you gain something, you get more of it. importance: Importance means the quality or condition of being needed or valued. mean: Mean describes someone who is unkind or cruel.

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