Rođenje tragedije, beleške

8/16/2019 Rođenje tragedije, beleške

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ROĐENJE TRAGEDIJE IZ DUHA MUZIKE

This Will, the underlying reality of the world, expressed

itself in a variety of ways in the human world, most keenly in

the form of sexual desire; it had each human individual in its

grip and drove each ofus on to forms of action that

inevitably ended either in disgusting satiation or in

frustration. The very nature of the universe precluded the

possibility ofany continuing human happiness. The best we

could hope for, Schopenhauer argued, was momentary

respite from the continual flux of willing and frustration

through the contemplation of art. Aesthetic experience

could have this effect because it is radically disinterested

and thus extracts us from the world of willing. usic, in

particular, is inherently non!representational, and

Schopenhauer draws from this fact the stunning conclusion

that music both gives us virtually direct access to ultimatereality, and is also one ofthe best ways available to us

ofdistancing ourselves from the relentless throb ofthe Will.

"e dedicated the book to Wagner.

#y $%%&, when he was preparing a second edition ofthe

work, 'iet(sche claimed to have long since changed his

mind about Wagner )and about Schopenhauer*. As he wouldlater put it, he had eventually overcome these two youthful

enthusiasms, exchanging Schopenhauerian pessimism for a

fully affirmative attitude towards life and coming to see

Wagner as a decadent and the embodiment of everything


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that was to be re+ected in modern culture. So the view has

sometimes been expressed that the mature 'iet(sche

became +ust as committed an anti!Wagnerian as his younger

self had been pro!Wagner.

-lassici(ing accounts in the late eighteenth and early

nineteenth centuries in ermany often emphasi(e the

cheerfulness ofreek culture in contrast, for instance, with

the weighty seriousness ofthe iddle Ages. /art

of'iet(sches purpose in The #irth ofTragedy is to give a

more complex account ofthe phenomenon of reek

cheerfulness which will make it compatible with what

'iet(sche takes to be the pessimistic insights of

Schopenhauer.

/ostavl+a pitan+e da li pesimi(am mora (na0iti propast

duha i sve 1ivotne snage, ili mo1e predstavl+ati +edno

intelektualno stanovi2te ko+e proi(ila(i i( preobil+a kako bi

do2lo do novog sa(nan+a onoga 2to optimisti0nim duhom ne

mo1e da se spo(na.

3n+iga odgovara na pitan+e 4TA 56 789'8:85S39

! 9dnos rka prema bolu i patn+i

! demand for beauty )Schonheit*

7ioni(i+sko ludilo i( koga su proistekle i komedi+a i tragedi+a.

8f the reeks were pessimists and had the will to

tragedy precisely when they were surrounded by the riches

of youth, if, to


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other hand and conversely, it was precisely during their

period of dissolution and weakness that the reeks became

ever more optimistic, more superficial, more actorly, but

also filled with a greater lust for logic and for making theworld logical, which is to say both more cheerful and more

scientific ! could it then perhaps be the case, despite all

modern ideas and the pre+udices ofdemocratic taste, that

the victory ofoptimism, the predominance $$ Thucydides,

/e5oponnesian War 88.>Sff. $= /haedrus ("ao ? The #irth

ofTragedy and 9ther Writings ofreasonableness, practical

and theoretical utilitarianism, like its contemporary,democracy, that all this is symptomatic of a decline in

strength, of approaching old age, of physiological

exhaustion

! @metnost, a ne moral +e prava metafi(i0ka aktivnost

oveka.

! several times in the book itself the provocative

sentence recurs that the existence of the world is

+ustified )gerechtfertigt* only as an aesthetic

phenomenon.

,,'o, you should first learn the art of comfort in this world,

you should learn to laugh, my young friends, if you are really

determined to remain pessimists. /erhaps then, as men who

laugh, you will some day send all attempts at metaphysical

solace to "ell! with metaphysics the first to goBC


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the continuous evolution of art is bound up with the

duality of the Apolline and the 7ionysiac in much the same

way as reproduction depends on there being two sexes

which co!exist in a state of perpetual conflict interruptedonly occasionally by periods of reconciliation.

#o1anstva umetnosti, Apolon i 7ioni(i+e

! Apolonska +e slikovna umetnost, a 7ioni(i+ska +e

neslikovna, gde spada mu(ika

Ati0ka tragedi+a nasta+e +ednakim me2an+em ovih dva+u sila

)eng.drive, nem.Triebe*

Apolon +e bog sna i proro2tva, according to the etymological

root of his name, he is the luminous one )der Scheinende*,

the god of light.

DEFGEHEIJKF LFMJNEOPQR, KPKF JR ER UPJNR,

MFLUEGFJE VXYRQ JXIRKNEENRNP, JR MFK JR GR MFZR MF

NP[KR LFNLGFV JP\FHPXFUPP.

! Schopenhauer thought that our everyday experience

of the world was of separate, distinct empirical

ob+ects )i.e. things sub+ect to the principle of

individuation* and that their distinctness was

inherently connected with the applicability of the

principle of sufficient reason. ]oughly speaking, two

things are distinct )individuated* only if we have

grounds )suffficient reason* to distinguish them and if

we have such grounds they are distinct. "owever,

Schopenhauer also believed that all use of the


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principle of sufficient reason )and thus all

individuation* was a result of the operation of the

mind, and hence the everyday world of distinct

ob+ects of experience was a mere appearance, in factan illusion. ^GMEIJKP _E`FHF_EIP

! The reality of which our empirical world is an

appearance is what Schopenhauer calls the Will and

we can have non!empirical access to it in our own

willing ! we know what we will directly without

observing anything ! and in certain kinds of

aesthetic experience. Since this will is by definitionoutside the realm within which one can speak of

individuation and the distinctness of one thing from

another, it has a kind of primordial unity.

! 'ow, hearing this gospel of universal harmony, each

person feels himself to be not simply united,

reconciled or merged with his neighbour, but


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JNPUGFJN, P`E FXR MF`PHR KPF \RNGE[KR EH JP\R

LUEUFMR, Dj ^ jq^.

jUPVRMEIP EHEUR EH FFVP.

E`FHF_JKE GPJNUFIRG [FRK E\P [PK LURMFJRPQR MP JR

E LFM FF\ JNPUGF KFIFI EE\F E LFJNFIE\F KUEIR

MUVP, JPJE\ MUVP[EIP JNPUGFJN, MP IR E FP, MPK`R,

JP\F LUEEM.

LF`FG `PMP E JIPIGE\ LUEEMF\ GNUPQRV JRNP

\PNR

LF`FGFF FKF FPURGF IR JRNE\ PUF\ JIPIGFV LUEEMP

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NF GP HXUKPGF\ \FU KFIR, GE JP KFIR JNUPGR

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JRME [P\O HMPIE JR JFI J`PX XPUK; NPKF J`RM

IRMGFV JRNP LPNQE JLFKFIGF JRME [FRK, LFIRMEGPO,

FJ`PQPIE JR JP LFHMPQR\ GP principium

individuationis.C LF`FG IR MEGE XFPGJKE JE\XF`

GP[R`P EGMEEMPOEIR

DEFGEHEIJKF PGP`FVEIP LEIPGJNP

MFUJKFI \RNGFJNE JR FRKFR[EF R`E[PGJNRGF

FMXFIGE JNP LF`FGF

8spod apolonskog sveta krio se dioni(i+ski ko+i +e polako

krenuo da se otkriva.


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8sti nagon ko+i +e oli0en u Apolonu rodio +e olimpski svet

uop2te, i u tom smislu mo1emo Apolona shvatiti kao roditel+a

tog sveta. antasti0no preobil+e 1ivota kri+e se i u n+ima.

9limpl+ani, blistavi porod snova.

3oristi se 2openhaurovskim terminima, zol+a, 2ilerovskim

naivnost.

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Rođenje tragedije, beleške