4 From The Birth of Tragedy (1872)
Abstract
The two art-sponsoring deities, Apollo and Dionysos, that are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollonian arts and the non-visual art of music inspired by Dionysos. The fair illusion of the dream sphere, in the production of which every man proves himself an accomplished artist, is a precondition not only of all plastic art, but even, as we shall see presently, of a wide range of poetry. Dionysiac stirrings arise either through the influence of those narcotic potions of which all primitive races speak in their hymns, or through the powerful approach of spring, which penetrates with joy the whole frame of nature. The productive power of the whole universe is now manifest in his transport, to the glorious satisfaction of the primordial One. The most precious marble— man— is here kneaded and hewn, and the chisel blows of the Dionysiac world artist are accompanied by the cry of the Eleusinian mystagogues.
Cite this
Friedrich Nietzsche (1994). 4 From The Birth of Tragedy (1872). Princeton University Press eBooks. https://doi.org/10.1515/9781400833702-006
@article{friedrich19944,
title = {4 From The Birth of Tragedy (1872)},
author = {Nietzsche, Friedrich},
year = {1994},
journal = {Princeton University Press eBooks},
doi = {10.1515/9781400833702-006}
}Citations in this library
Stored only when both papers are in the corpus — 712 citations exist upstream.