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The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant "Attempt at a Self-Criticism" which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down through the Victorian era, and it sounded themes developed in the twentieth century by classicists, existentialists, psychoanalysts, and others.
The Case of Wagner (1888) was one Nietzsche's last books, and his wittiest. In attitude and style it is diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects and deal with art and culture, as well as the problems of the modern age generally.
Each book in itself gives us an inadequate idea of its author; together, they furnish a striking image of Nietzsche's thought. The distinguished new translations by Walter Kaufmann superbly reflect in English Nietzsche's idiom and the vitality of his style. Professor Kaufmann has also furnished running footnote commentaries, relevant passages from Nietzsche's correspondence, a bibliography, and, for the first time in any edition, an extensive index to each book.
- Sales Rank: #200601 in Books
- Published on: 1967-04-12
- Released on: 1967-04-12
- Original language: English
- Number of items: 1
- Dimensions: 7.24" h x .58" w x 4.29" l, .43 pounds
- Binding: Paperback
- 240 pages
From the Inside Flap
The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant "Attempt at a Self-Criticism" which he added to the new edition of 1886. But the book, whatever its excesses, remains one of the most relevant statements on tragedy ever penned. It exploded the conception of Greek culture that was prevalent down through the Victorian era, and it sounded themes developed in the twentieth century by classicists, existentialists, psychoanalysts, and others.
The Case of Wagner (1888) was one Nietzsche's last books, and his wittiest. In attitude and style it is diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects and deal with art and culture, as well as the problems of the modern age generally.
Each book in itself gives us an inadequate idea of its author; together, they furnish a striking image of Nietzsche's thought. The distinguished new translations by Walter Kaufmann superbly reflect in English Nietzsche's idiom and the vitality of his style. Professor Kaufmann has also furnished running footnote commentaries, relevant passages from Nietzsche's correspondence, a bibliography, and, for the first time in any edition, an extensive index to each book.
From the Back Cover
The Birth of Tragedy (1872) was Nietzsche's first book. Its youthful faults were exposed by Nietzsche in the brilliant 'Attempt at a Self-Criticism' which he added to the new edition of 1886.The Case of Wagner (1888) was one of Nietzsche's last books, and his wittiest. In attitude and style it is diametrically opposed to The Birth of Tragedy. Both works transcend their ostensible subjects and deal with art and culture, as well as the problems of the modern age generally.
About the Author
Friedrich Nietzsche was born in 1844 in Röcken (Saxony), Germany. He studied classical philology at the universities of Bonn and Leipzig, and in 1869 was appointed to the chair of classical philology at the University of Basel, Switzerland. Ill health led him to resign his professorship ten years later. His works include The Birth of Tragedy, Thus Spoken Zarathustra, Beyond Good and Evil, On the Genealogy of Morals, The Case of Wagner, Twilight of the Idols, the Antichrist, Nietzsche contra Wagner, and Ecce Homo. He died in 1900. The Will to Power, a selection from his notebooks, was published posthumously.
Walter Kaufmann was born in Freiburg, Germany, in 1921, came to the United Stated in 1939, and studied at Williams College and Harvard University. IN 1947 he joined the faculty of Princeton University, where he was Professor of Philosophy until he died in September 1980. HE held many visiting professorships, include Nietzsche, Critique of Religion and Philosophy, From Shakespeare to Existentialism, The Faith of a Heretic, Cain and Other Poems, and Hegel, as well as verse translations of Goethe's Faust and Twenty German Poets. He also translated all of the works by Nietzsche listed above. In addition to On the Genealogy of Morals and Ecce Homo the following appear in Vintage Books: Beyond Good and Evil and, in one volume, The Birth of Tragedy and The Case of Wagner. Mr. Kaufmann's edition of The Will to Power is available from Random House.
R.J. Hollingdale is an English writer, best known for his book Nietzsche: The Man and His Philosophy.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By George
thanks!!
1 of 4 people found the following review helpful.
If you read this book you may give up reading
By ajg
If Nietzche were not already dead, this book would convince you to kill him. Plodded through about half of the book and then realized I was doing permanent brain damage to myself. Nietzche - please! stay dead.
19 of 24 people found the following review helpful.
The Greatest Work of Art Criticism Ever Written
By Dorion Sagan
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 pieces represent the fundamental, and contradictory, fact of the universe: that although all is one (to borrow a philosophical truism) this One is split into many. This primordial splitting (cf. Heidegger's distinction between individual beings and Being) is, according to Nietzsche, regarded by the ancient Greeks as itself the ur-source of human suffering. From Dionysos's tears came mankind, from his smile the gods. Now Nietzsche says that the Apollinian aesthetic strain manifests in the clarity of dreams-which show discrete-although ultimately illusory-images. These images are similar to those that appear before the chorus (crucial to tragedy but dispensed with by Euripedes), and before the spectators, in the form of the actors of the tragic spectacle. Thus the tragical spectacle displayed shows itself to be a dreamlike illusion of the culture, not a representation of reality per se. Just as, after we stare at the sun, we see spots before our eyes so, Nietzsche says, after we stare into the abyss we see the tragedy with its chorus and ideal human characters. The Dionysian element Nietzsche identifies with drunkenness and dissolution, the opposite of the clarity of dream imagery, made public on the Greek stage. The Dionysian in a sense represents the One, or the movement from the individual (seen a la Schopenhauer and Vedic metaphysics as a mayan illusion of universe that "I"s itself) back to the One; the Apollinian the illusory clarity of the skin-encapsulated individual. (Nietzsche's own individuality, and brain, were compromised by Treponema spirochetes, real Dionysian avatars of the syphilis that eventually killed him.) One of the most fascinating things about Nietzsche's exquisitely crafted analysis is the way it shows science, no less than Euripides, to be motivated by Socrates' false humility and dreams of total knowledge. "Who is this demigod?" Nietzsche asks of Socrates-whose reign of reasonableness, passed on to Plato, Aristotle, and the Church scholastics-defines much of the modern world. Socrates created the secular tradition, raising knowledge over aesthetics and giving mysticism a bad name. Nietzsche points out that Plato burnt his plays after coming into contact with his teacher-and that the compromise, the Platonic dialogues, were in fact the prototype of a new, Socratized art form-the novel. Thus, startlingly Nietzsche suggests the novel itself is a debased form of art-a Euripideanized, Socratized attempt to make the primal aesthetic experience more representative, reasonable, and realistic. Euripedes (he later recanted, but his influence went on) dispensed with the tragic core of stagecraft, and today we accept that drama is about individual characters in all their oddity and imperfections-rammed at us unremittingly with the hegemony of plot and wordy deus ex machina explanations in the aesthetically poisonous, hyperrationalistic aftermath of Euripides's Socratic capitulations. In sum, today we have all but forgotten the Dionysian origins of acting-more real than realism-which originally was centered around not fleeting emotions and empathy, but the central cosmological fact of the individuals tragic separation from the All. Highly recommended.
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