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Luthfi Ferizqi's Reviews > The Birth of Tragedy
The Birth of Tragedy
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The Birth of Tragedy, first published in 1872, marks the debut of Friedrich Nietzsche’s philosophical career, and it left me astonished.
This book took me by surprise, primarily because of the dense network of references Nietzsche employs—references that demand a certain level of prior knowledge. Central to his argument are the works of the great Greek tragedians, Aeschylus and Sophocles. These plays, rich with complex characters and profound themes, are crucial for understanding Nietzsche's exploration of the origins of tragedy.
Personally, I’ve only read Oedipus Rex by Sophocles, which gave me a glimpse into the tragic spirit Nietzsche vividly describes. He portrays a world where tragedy flourished before the rationalism of Socrates began to undermine it. However, I realized that my limited exposure to these ancient works somewhat hindered my grasp of Nietzsche's broader arguments.
Another challenge in reading this book is Nietzsche’s frequent citations of Arthur Schopenhauer, a philosopher whose works I have yet to delve into. Schopenhauer's influence is deeply woven into Nietzsche's thought, particularly in how Nietzsche develops his ideas about art and the human condition. Without familiarity with Schopenhauer’s philosophy, it can be difficult to fully appreciate the nuances of Nietzsche's argument.
Despite these challenges, I found myself captivated by Nietzsche’s exploration of the Apollonian and Dionysian principles—concepts that symbolize the dual forces of order and chaos, reason and passion, in human existence. His relentless critique of Socrates, whom he blames for the decline of Greek tragedy, also resonated with me, though it left me pondering the implications of such a stance.
Yet, in many ways, The Birth of Tragedy feels more like a philosophical treatise or a critical essay on the decline of ancient tragedy and the potential for its rebirth through the music of Richard Wagner, a composer Nietzsche admired at the time. Nietzsche suggests that Wagner’s music could revive the lost Dionysian spirit of ancient Greece, breathing new life into modern art.
In conclusion, I believe this is a book that demands more than one reading.
This book took me by surprise, primarily because of the dense network of references Nietzsche employs—references that demand a certain level of prior knowledge. Central to his argument are the works of the great Greek tragedians, Aeschylus and Sophocles. These plays, rich with complex characters and profound themes, are crucial for understanding Nietzsche's exploration of the origins of tragedy.
Personally, I’ve only read Oedipus Rex by Sophocles, which gave me a glimpse into the tragic spirit Nietzsche vividly describes. He portrays a world where tragedy flourished before the rationalism of Socrates began to undermine it. However, I realized that my limited exposure to these ancient works somewhat hindered my grasp of Nietzsche's broader arguments.
Another challenge in reading this book is Nietzsche’s frequent citations of Arthur Schopenhauer, a philosopher whose works I have yet to delve into. Schopenhauer's influence is deeply woven into Nietzsche's thought, particularly in how Nietzsche develops his ideas about art and the human condition. Without familiarity with Schopenhauer’s philosophy, it can be difficult to fully appreciate the nuances of Nietzsche's argument.
Despite these challenges, I found myself captivated by Nietzsche’s exploration of the Apollonian and Dionysian principles—concepts that symbolize the dual forces of order and chaos, reason and passion, in human existence. His relentless critique of Socrates, whom he blames for the decline of Greek tragedy, also resonated with me, though it left me pondering the implications of such a stance.
Yet, in many ways, The Birth of Tragedy feels more like a philosophical treatise or a critical essay on the decline of ancient tragedy and the potential for its rebirth through the music of Richard Wagner, a composer Nietzsche admired at the time. Nietzsche suggests that Wagner’s music could revive the lost Dionysian spirit of ancient Greece, breathing new life into modern art.
In conclusion, I believe this is a book that demands more than one reading.
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