tragedy
The Birth Of Tragedy
Primitive men did not distinguish between " real " and " virtual ".
1. I reproduce the magic natural phenomenon for smooth operation of the four seasons.
2. The guaranteed and abundance of cruise seasons speak certain God as a person who is young and healthy, when God is strong.
- That it believed that there is no effect when weakly God (You killed God, was elected as the new human God)
3. Festival will open on the day you killed God, when that, it was a new practice after the killing, is to ingest the corpse.
- And I think when I take the meat of God,
4. God was so must undergo killed one day, the evaluation is to fall, savage customs began to be relaxed
- 1. (Prove its ability to remain in the new) grant the right of self-defense to God
- 2. Sense of authority of God is expanding, representative of their own have died. (Such as a son)
- 3. From one moment, goats and sheep died instead a sense of human. The Greek tragedies of Aeschylus and Sophocles, which Nietzsche considers to be among humankind’s greatest accomplishments, achieve their sublime effects by taming Dionysian passions by means of the Apollonian. Greek tragedy evolved out of religious rituals featuring a chorus of singers and dancers, and it achieved its distinctive shape when two or more actors stood apart from the chorus as tragic actors. The chorus of a Greek tragedy is not the “ideal spectator,” as some scholars believe, but rather the representation of the primal unity achieved through the Dionysian. By witnessing the fall of a tragic hero, we witness the death of the individual, who is absorbed back into the Dionysian primal unity. Because the Apollonian impulses of the Greek tragedians give form to the Dionysian rituals of music and dance, the death of the hero is not a negative, destructive act but rather a positive, creative affirmation of life through art.
Unfortunately, the golden age of Greek tragedy lasted less than a century and was brought to
Primitive men did not distinguish between " real " and " virtual ".
1. I reproduce the magic natural phenomenon for smooth operation of the four seasons.
2. The guaranteed and abundance of cruise seasons speak certain God as a person who is young and healthy, when God is strong.
- That it believed that there is no effect when weakly God (You killed God, was elected as the new human God)
3. Festival will open on the day you killed God, when that, it was a new practice after the killing, is to ingest the corpse.
- And I think when I take the meat of God,
4. God was so must undergo killed one day, the evaluation is to fall, savage customs began to be relaxed
- 1. (Prove its ability to remain in the new) grant the right of self-defense to God
- 2. Sense of authority of God is expanding, representative of their own have died. (Such as a son)
- 3. From one moment, goats and sheep died instead a sense of human. The Greek tragedies of Aeschylus and Sophocles, which Nietzsche considers to be among humankind’s greatest accomplishments, achieve their sublime effects by taming Dionysian passions by means of the Apollonian. Greek tragedy evolved out of religious rituals featuring a chorus of singers and dancers, and it achieved its distinctive shape when two or more actors stood apart from the chorus as tragic actors. The chorus of a Greek tragedy is not the “ideal spectator,” as some scholars believe, but rather the representation of the primal unity achieved through the Dionysian. By witnessing the fall of a tragic hero, we witness the death of the individual, who is absorbed back into the Dionysian primal unity. Because the Apollonian impulses of the Greek tragedians give form to the Dionysian rituals of music and dance, the death of the hero is not a negative, destructive act but rather a positive, creative affirmation of life through art.
Unfortunately, the golden age of Greek tragedy lasted less than a century and was brought to