Sample essay on reading "The Birth of Tragedy" 1
I read Nietzsche's "The Birth of Tragedy" twice without any hurry. Some people say that reading Nietzsche's works gives me a strong pleasure. This is especially true with this book. It is full of passion due to passionate struggle, has a very distinct mark of youth, has a sharp and original point of view, no, is shocking, and of course is high-spirited and raw as Nietzsche's first work. But this is also the beginning of his thinking. All subsequent conclusions are derived from this work, which may be changed, deformed, expanded, or deepened...
In Nietzsche's worldview, the truth of the world is impermanence and change. It's so cruel that anyone who sees it will be bored. However, unlike Schopenhauer who stayed at pessimism, Nietzsche was full of courage to transcend pessimism and find the meaning of life. He set his sights on ancient Greek culture, the model for all nations, and seized the two artistic forms of Apollo and Dionysus, and regarded Dionysus as the highest god. In his opinion, both the impulses of Apollo and Dionysus originate from the truth of the world, but Apollo is a beautiful image used by the Greeks to cover up the cruel reality, because it is protected by the phantom of Apollo to avoid looking directly at the bloody forest. Lin's truth can seduce people into having a strong desire to live. But Dionysus directly reflects the naked truth. People in the Dionysian spirit have the collapse of the principle of individuation, no will to survive, and are in unconscious great pain and incomparable happiness.
The tragedy was born in the collision between Apollo and Dionysus. Apollo's laurel touched the drunkard, allowing his unconscious feelings to be visualized and conceptualized, and he was able to see. Therefore, Greek tragedy began with just a chorus, the believers of Dionysus were indulged in the spirit of Dionysus, and the protagonist Dionysus was only assumed to be present. Later, Dionysus was embodied as an image and appeared on the stage, and the chorus was used as a barrier to isolate the outside world, but still retained the nature of Dionysian believers. Only later, after the Dionysian spirit has been banished, does the chorus degenerate into an insignificant foil.
Nietzsche’s shocking remarks lie in the disillusionment of tragedy, and the perspectives of Apollo and Dionysus can only be regarded as unique perspectives. Originally, the Apollinian and Dionysian spirits came directly from the feelings of nature, and had nothing to do with personal knowledge and experience. They were the echoes of nature. But when the scientific view of history pursues causal relationships and evidence, the myth is shattered. The paradise that Dionysus lived on was destroyed.
The Dionysian spirit was driven into the abyss of darkness by Socrates' "understanding and then beauty" and by the world's endless thirst for knowledge and greed. The result of resisting Dionysus also ruined Apollinian art, and the arts pursued after that were all lifeless imitations. This is completely anti-rational, anti-scientific, and anti-academic extreme attitude. As soon as this was said, the intellectual and academic circles were so angry that they kept silent about Nietzsche's favorite work for three months before a massive denunciation broke out.
Nietzsche saw that the destruction of tragic culture left a huge void, but he had complete confidence at the time to predict that this spirit would be reborn in the noble character of Germany. The person who was pinned with hope was Wagner, a musician with whom he had a warm friendship at that time. His music embodies the sound of the world, summons myths, awakens the sleeping tragic culture, reaches places that Goethe, Schiller, etc. have not reached, and takes over the ancient tradition. Cultural flag of the Greeks.
He believes that three types of people extend from Apollo, Dionysus, and Socrates: one type of person is bound by the Socratic desire for knowledge, delusional that knowledge can heal the eternal wounds of existence; the other One kind of people is surrounded by the illusion of alluring artistic beauty that spreads before their eyes; the third kind of people turn to metaphysical comfort, believing that eternal life flows endlessly under the whirlpool of phenomena, and they use this to prepare their will for a more universal and even more powerful The phantom remained silent. Of course, he said that these three levels belong to people with higher talents. They feel the burden of survival with deep disgust, so they choose a kind of excitement to make themselves forget this disgust.
Nietzsche said that "The Birth of Tragedy" is "a youthful work of youthful courage and youthful sadness, which does not blindly obey even when it seems to be bowing to an authority and showing sincere respect. , proudly independent. "He is a lovely rebel, whose authority can be said to be that of Wagner, but also suitable for Schopenhauer. She worships idols but stubbornly maintains her own uniqueness. She truly worships and is obsessed with her, but she is also truly rebellious. Later, Nietzsche's friendship with Wagner broke down. Different from his infatuated state of mind when he wrote "The Birth of Tragedy", he later frequently criticized Wagner. Not only did he not place his hopes on him as the highest art form of tragedy culture, he also called him a romantic weakling. , and believes that misunderstanding Wagner is the biggest mistake in this book. Of course, he also broke with Schopenhauer, and his mentor Li Qier, who did not hesitate to transfer schools to follow him in college, was silent about the book, which made it difficult for him to accept it. His reaction was extremely fierce, and he sent an arrogant letter. .
If the ancient Greeks were always children, Nietzsche was also a child! "The Birth of Tragedy" After Reading Example 2
Sometimes I feel that I am too stupid. After reading a book, I almost understand it, but I have no idea what "guiding significance" it has for life. Marx would definitely think that this is divorced from reality. It is really difficult for me to learn and apply it...
I admire people who can apply knowledge, especially philosophy, to life. After all, most people just rely on Live with instrumental reason and intuition. Implementing knowledge and philosophy in survival must require a lot of courage, as well as deep understanding and trust in the spirit.
For those who are young and carefree, it is still possible...maybe it is just a simple but self-righteous philosophy. What happens when it enters reality (or...the principle of personality collapses...)? What if philosophy truly reveals its complexity and mystery? Are we like those confused people in the 20th century who chose "I believe because it's ridiculous"?
Life in the 17th century was like a dream, the rationality of the 18th century was brilliant, the romanticism of the 19th century, has the 20th century entered absurdity? What about the 21st century? Philosophy is less and less willing to let us be happy lightly.
When I come back to write reading notes, the first two chapters are still quite easy to understand.
Chapter 1. Introduces the spirit of Apollo and Dionysus, that is, the spirit of Dream and Dionysus, both of which are composed of Greek will ("will" is probably borrowed from Schopenhauer) , combined into Attic tragic art.
Dreams play a role in plastic arts (including epics), and they directly present the pleasure of phenomena. Dreams are transformed from the "bottom of existence", and their inherent nature in people is due to this. Therefore, their pleasure must be reflected in the scene. But even when the illusion reaches its extreme, you can still feel its brightness and darkness, just as the most lucid person will feel that life is dim and clear (probably because the state of intoxication is calling).
The dream is perfect under the control of Apollo, but it has limits, that is, the principle of personality (Schopenhauer's so-called "phantom maja"): a kind boat inhabited by people in the sea of ??suffering, in the suffering I live by contemplation in solitude. The principle of individuality and contemplation are the highest state of dreams, the most beautiful and joyful, and the insurmountable boundary of dreams.
When the personality principle collapses (after all, it is not the truth, it is an illusion), people will feel ecstasy deep in their hearts in addition to fear. This is the revelation of Dionysus. With the destruction of the personality principle and ecstatic drunkenness, Produces, "All things are one with me." Well, the description of the state of drunkenness is so grand and vivid that it cannot be abbreviated.
Chapter 2. Dreams and intoxication are primitive unmanned creativity. Tragedy artists are seen as being inspired by dreams in intoxication, and the process of "becoming one" is presented as symbolic. Dreamscape pictures.
Nietzsche (hereinafter referred to as Nietzsche) believed that the naturalistic artistic tendencies of the Greeks showed that they were more influenced by the dream god than any other nation. The constraints of Apollo made the Greek Dionysian sacrifices different from those of the Greeks. The lustful festivals of other ethnic groups and the unrestrained spirits are endowed with artistry under the art of the dream god. The intoxicating art of Dionysian music brings symbolic art to its extreme, and then the "illusion" begins to break down, and the principle of personality merges into the universal. Individuals must seek new symbols (such as music) for the new existence they feel - the boundless essence. Only then can people achieve such symbolic ability when they enter a state of selflessness.
3. It was this chapter that made me regret answering the first question of the Spanish American Exam like that -! It turns out that the naturalistic tendency of Greek philosophy was hard-won.
The first problem is: the gods of Olympus, as a glorious picture of Greek culture, are far from solemn and sacred (mainly because of those romantic affairs...), so this kind of wanton happiness without regard for good or evil Where did it come from? Moreover, the folk wisdom of ancient Greece is expressed in the terrible aphorisms of Silenus, who is afraid of life.
Precisely because in the eyes of the Greeks, survival was terrifying, so in order to survive, they could only rely on the illusory relief, that is, the realm of Olympus. Therefore, Apollo can be regarded as the father of the entire divine world.
Finally, there is the concept of "simplicity", which is the tendency of naturalism (but it is not completely the same as the unity of things and myself in drunkenness). The reason why artists and poets dare to embrace the terrible nature is because of dreams. The illusion of God generates a beautiful mood. The divine world of Olympus is the beautification of the human world (didn't Marx also believe that the consciousness of "gods" is a reflection of matter, but Nyms believed that the Greeks did it deliberately). Homer's epic is the absolute victory of the dream-god fantasy and the peak of the grand divine fantasy.
4. The reality experienced by people and the existence of the general world are both happy illusions corresponding to "real existence and the One", and are also its relief. Therefore, dreams can be regarded as the illusion of illusion, or even the high degree of satisfaction of the original illusion pleasure (its relief function is very powerful). Raphael's "Transfiguration" depicts this second transformation: the suffering people are the first reflection of eternal calamity and suffering. On this basis, a new illusion arises, which is beautiful enough to become a kind of relief.
The illusion of Taiyi, the illusion of illusions, explains the existence of the divine world of Olympus and the aphorisms of Silenos. Because the dreamscape masks pain, the One is realized; in contrast, the dream god believes that the world of pain is necessary to give him a reason to exist.
The principle of individuality is an important symbol of the Dream God culture, and is derived from the principle of moderation (Ma Zhe...). This is written in more detail in Chapter 9, including the boundaries between different worlds and the boundaries between people.
The Dionysian sacrifice awakened the Dionysian factor in the hearts of the Greeks, calling for excess and unity, but it also revealed the bleak foundation of all dreams. Then, the confrontation between the God of Dreams and the God of Dionysus began. The following periods can be divided according to their power into (I estimate) the Homeric period, the period of lyric poetry, and finally the Doric period. Although it is dominated by the dream god culture, tragedy was born in this period: Aescus Ross, Sophocles, and finally Euripides during the period when tragedy was killed by Socrates.
"The Birth of Tragedy" Sample Essay 3
I would like to make two points first.
First, I am a pessimist, but I try to be the most optimistic pessimist.
Secondly, I am an idealist, but I strive to be the most realistic idealist.
The reason why I say I am a pessimist is that, first of all, I think life is a tragedy. A person's birth, old age, illness and death are all beyond his control. In the end, it's just a journey to the grave. Moreover, in this process, there is far more pain than happiness, and the only happiness is based on pain. Here are some examples. For example, if you achieve some kind of success and you are happy for it, you are more happy because your efforts are rewarded. And the process of giving is bound to be painful. So, you are just happy in the process of "my pain is over". Therefore, life is a tragedy. Although there are climaxes and beauty, the ending must be a tragedy.
After that, why do you want to be the most optimistic pessimist? Since life is a tragedy, what should we do?
Recently I was reading Nietzsche's "The Birth of Tragedy" (translated by Zhou Guoping) and concluded that art can save tragedy. In other words, art can temporarily save tragedy, but new tragedies will continue to be born. There are two ways in which art can save tragedy. The Apollinian spirit and the Dionysian spirit. In layman's terms, the Apollo spirit means that we will have beautiful dreams, but even if we know that it is just a dream and a dream that we will eventually wake up from, we still have to do it, because this is the way for us to obtain pleasure. The Dionysian spirit is that we enjoy the process of performing tragedy even though we know it is a tragedy. "Tragedy attracts us with its magnificence and its joy." In the final analysis, we know rationally that human nature is utilitarian and life is tragedy, but we use art (irrationality) to cover up the truth. Zhou Guoping's original text is "Art is more valuable than truth. In order to survive, we need to use the 'lies' of art." To cover up some terrible truth.”
As my article said. "I love you only for your value and my dedication." Many people have told me, which I think is right, but is too chilling. Yes, we would rather believe in the story of two people turning into butterflies on the stage, and we would rather believe that the prince and the princess live happily together. We take pleasure in masking the truth with the beauty of the art we create. This is the embodiment of the Apollonian spirit.
Yeah, if you see everything through, what fun is there in life? Let us have a gorgeous dream!
In fact, it is just like my evaluation of Dong Xiaowan’s writing. "Happiness is just our feeling" In fact, as long as people feel happy, they can obtain happiness anytime and anywhere. This can also be related to Nietzsche's "will to power" (haha, a lot of Nietzsche's ideas have been instilled in me by YW classmates recently, let's use him as an example). Dong Xiaowan married Mao Pijiang and suffered all kinds of unfair treatment. But I believe she is happy. Because she made her own choice. People's happiness only comes from their own right to choose. Moreover, she could put a beautiful coat on all of Mao Bijiang's actions. Even neglect towards her can be explained away as filial piety. So, what else is there to be unhappy about?
In short, if we think we are unfortunate, we can always find reasons for being unfortunate. If we think we are lucky, we can always find a reason to be lucky. (This is a typical idealist view and a manifestation of "will to power".)
However, while being "idealistic", I am also a realist. I agree with universal values ??because I live in this society and grew up under the influence of this society's values. I need my actions to be validated by the reactions of others to identify myself with my own worth. Therefore, my behavior will never deviate too far from public values. I keep my integrity and do things that are recognized by public values, such as being a good student, for example, being a good employee. Maybe, in the future, get married and have children according to the appropriate pattern. Because I have to admit that certain material or spiritual pursuits that are in line with the public are more likely to trigger my "sense of happiness". For example, the appreciation of others, such as the money and status obtained by using one's talents. Generally speaking, social recognition is the main source of my "happiness", so I must learn to be realistic.
I decorate my life with beautiful "art", and at the same time enjoy the "sense of resignation".
Since we cannot escape life, we must learn to enjoy it rather than endure it. Sample essay 4 after reading "The Birth of Tragedy"
When Nietzsche's "The Birth of Tragedy" was published, the classical philology community was very disappointed with it, but Wagner praised it. Since then, they began a close relationship. But as Nietzsche's thoughts became more critical and Wagner eventually embraced Christianity, their friendship finally ended.
In Nietzsche’s view, Christianity is a kind of pseudo-morality and a manifestation of bad conscience. It sympathizes with the weak and suppresses the expression of vitality. It is a kind of slave morality, which Nietzsche cannot tolerate. In 1897, Nietzsche left Basel, resigned as a university professor, and began his wandering life. Maybe Germans are wanderers at heart, just like the great German poet Goethe sang about wanderers in his poems. How can they find a resting place? During his ten-year wanderings, Nietzsche completed many important works in his life.
Nietzsche's view of the "rationalist" Socrates is itself full of contradictions. This is because art (which is always the art of illusion) faces its own "perspectival" characteristics, and Knowledge wants to be universal and rejects those personal perspectives as illusions, and the conflict between artistic and rational interpretations of reality thus becomes public. Nietzsche regards Socrates, the dialectician who is hostile to art, sometimes as a person who eliminates illusions, the basic values ????that people need to live and make people vital, and sometimes as a person who has sufficient reason and critical thinking. Courage to see through old values ??and thereby to reckon with those conventions that hinder the unfolding of one's personality.
It seems that Nietzsche had a clear overview of this double meaning in cognition only after this; and the double meaning in the illusionary world of art was felt by Nietzsche earlier. Arrived, partly undoubtedly by the influence of Schopenhauer and Wagner, and partly perhaps through his own experience with art and as an artist. "The Birth of Tragedy" After Reading Example 5
Nietzsche's first work is "The Birth of Tragedy", in which he proposed the Apollonian spirit and the Dionysian spirit. The radiance of Apollo makes everything appear beautiful and creates an illusion. Dionysus symbolizes emotional indulgence, and one of its states is a state of insanity intertwined with pain and ecstasy. We all like to listen to music, and music is an expression of the comprehensive emotions of the Apollonian and Dionysian spirits. Nietzsche believed that when watching tragedy, "a kind of metaphysical comfort allows us to temporarily escape the chaos of the changing world." Through the destruction of personality, we feel the abundance and indestructibility of the world's life will, so we feel pleasure. The suffering of reality turns into aesthetic joy, the tragedy of life turns into the comedy of the world, affirming life, along with the pain and destruction it inevitably contains, playing with pain, and gaining aesthetic pleasure from the tragedy of life. This is the essence of the Dionysian spirit.
The Apollonian spirit is obsessed with the illusion of appearance and opposes the pursuit of the true nature, while the Dionysian spirit wants to break the illusion of appearance and communicate and integrate with the true nature. The former uses a beautiful veil to cover the tragedy of life, while the latter lifts the veil and looks directly at the tragedy of life. The former teaches people not to give up the joy of life, and the latter teaches people not to avoid the pain of life. The former is obsessed with the moment, while the latter yearns for eternity. The subtext of the Apollonian spirit: Even if life is a dream. We also need to dream this dream with flavor. Don't lose the passion and fun of dreams; the subtext of the Dionysian spirit is: Even if life is a tragedy, we must act out the tragedy vividly and vividly, and don't lose the magnificence and comfort of the tragedy.
Nietzsche believed that power is the highest goal of the will to life, and life is a process of contest between strong and weak will to power. This will to power is actually the "will to life" transformed by the Dionysian spirit. It conquers others and makes them a tool for one's own survival and development. This is the principle of life. Therefore he divided people into geniuses and rogues. Whether a person can hold an aesthetic attitude towards people and people, whether he affirms life or denies life, ultimately depends on the strength and weakness of his inner life. He also declared that "God is dead", called for the breaking of idols, destroyed outdated traditional concepts, and promoted the uninhibited Dionysian spirit.
Human activities (whether physical or intellectual) create art, and art comes from life, and those immortal and glorious artistic images that have survived to this day are human activities washed by the endless river of history. , the essence that stands out. During the same period, human civilizations in different places created many distinctive artistic images based on their own social forms and cultural styles. Among these images, the two that are classic and well-known to us are Kuafu and Prometheus who will be discussed in this article. Before discussing them, I must take the trouble to add a little historical background knowledge, which will help the spread of the article and the reader's understanding. So please read on patiently, you will definitely benefit. "The Birth of Tragedy" Review Sample 6
In this book, Nietzsche explains the inner mechanism of Greek tragedy straight to the point. pointed out that it is the spirit of Apollo and the spirit of Dionysus. That is Sun God and Dionysus. The so-called Apollonian spirit is an illusion that indulges in appearance and opposes the pursuit of the true nature. The brilliance of the Apollonian makes everything appear beautiful and creates an illusion. The subtext of the Apollonian spirit is: Even if life is a dream, we must live it with gusto. Don’t lose the passion and fun of this dream. ; The so-called Dionysian symbolizes emotional indulgence, and one of its states is a state of insanity in which pain and ecstasy are intertwined. The Dionysian spirit must break through the illusion of appearance and communicate and integrate with the true nature. The subtext of the Dionysian spirit is: Even if life is a tragedy, we must act out the tragedy vividly and not lose the magnificence and comfort of the tragedy. The former uses a beautiful veil to cover the tragedy of life, while the latter lifts the veil and looks directly at the tragedy of life. The former teaches people not to give up the joy of life, and the latter teaches people not to avoid the pain of life. The former is obsessed with the moment, while the latter yearns for eternity.
We all like to listen to music, and music is the expression of a comprehensive emotion of the Apollonian and Dionysian spirits. Nietzsche regarded tragedy as a synthesis of the Apollonian spirit and the Dionysian spirit. But in essence he appreciates the spirit of Dionysus more. This is what he calls the spirit of music.
Nietzsche believed that when watching tragedy, "a kind of metaphysical comfort allows us to temporarily escape the chaos of the changing world." Through the destruction of personality, we feel the abundance and indestructibility of the world's life will, and thus feel pleasure. The suffering of reality is turned into aesthetic joy, and the tragedy of life is turned into the comedy of the world. We affirm life, along with the pain and destruction it inevitably contains, play with pain, and gain aesthetic pleasure from the tragedy of life. This is the true meaning of the aesthetic attitude towards life advocated by Nietzsche. "Re-evaluating all values ??focuses on criticizing Christian morality. The aesthetic attitude towards life is first of all a non-ethical attitude towards life." Life itself is immoral. All things belong to the eternally generated "whole" nature, and there is no good or evil to speak of. Christianity makes an ethical evaluation of life and regards life instinct as sin, which results in a widespread sense of guilt and self-repression. Aesthetic life requires us to get rid of this sense of guilt, transcend good and evil, and enjoy the freedom of the soul and the joy of life. joy. "So Nietzsche has these two sentences: "Art is the highest mission of life and the original metaphysical activity of life", "Only as an aesthetic phenomenon, life and the world appear to have sufficient reasons. ”
The main part of "The Birth of Tragedy" can be divided into two major parts. The first fifteen chapters are the explanation of Nietzsche's literary theory, and the sixteenth chapter to the end is the literary and aesthetic thoughts proposed in the previous article. The application of methodology in the German Renaissance, so the following content is mainly summarized in the first section. The contents of the next ten chapters are mostly repeated with the previous ones, and can be used to support and explain the previous concepts. As can be seen from the above, Nietzsche. "The Birth of Tragedy" has two levels. The first is the discussion of the origin of ancient Greek tragedy and the resulting criticism of modern rationalism. The other is the real core hidden behind these discussions-aesthetics. The decisive role in the meaning of human existence is the original form of the so-called "attempt to revalue all values". The latter is the core of Nietzsche's aesthetics, the basis for our understanding of his Apollinian-Dionysian theory, and a thread throughout the book. Clues.
Regarding Nietzsche’s “The Birth of Tragedy,” scholar Zhou Guoping once summarized: “As for the purpose of “The Birth of Tragedy,” Nietzsche has repeatedly pointed out that it is to create a pure aesthetic for life. Evaluation, aesthetic value is the only value recognized by the book, and the 'totally non-speculative, amoral god of the artist' is the only 'god' recognized by the book. He also clearly pointed out that the aesthetic evaluation of life is fundamentally opposed to the religious, moral and scientific evaluation of life. …Later it was pointed out: ‘Our religion, morality and philosophy are forms of human decadence. Opposite Movement: Art. ’ It can be seen that the standard of ‘revaluation’ is art in a broad sense, and its essence is to oppose the ethical life attitude and the utilitarian (scientific) life attitude with the aesthetic attitude towards life. "
Nietzsche was still under the influence of Schopenhauer's philosophical thought when he wrote "The Birth of Tragedy". In the fifth section of this book, Nietzsche applied the perspective of Schopenhauer's musical philosophy and said: “I wish I had known him of his own volition. "In the fourth section, it is shown that a concept is proposed - "the original one that is always suffering and contradictory", also known as "the basis of existence". This is very similar to Schopenhauer's view of the universe as the representation of will. . Sure enough, in Chapter 16, he clearly stated that "we can call the world concrete music, just as we call it concrete expression of will", which exposed his voluntaristic view and later proposed "power." The proposition of "will" has already emerged here. The so-called "supermen" who can realize the will of rights, that is, "autocrats with artistic talents," are the creators of history and the enslavers of the masses. This superhuman philosophy is also There are also clues in the book. In section 18, Nietzsche calls for "a new generation with a fearless vision and a courageous impulse towards the unexplored world". This is what these irrational "geniuses" deny. The universal validity of science and the claim to achieve universal purposes begin to break the so-called confidence that humans can explore the universe through causal relationships. This means that Superman does not need rational guidance and constraints when acting, but only abstract will and primitiveness. Based on the above, we can see that Nietzsche has constructed his pessimism in philosophy, society and history in "The Birth of Tragedy". The prototype of what he wants to promote to the world is a set of shocking ideas, such as: consciously praising evil and rejecting good, believing that pursuing good deeds is a mistake; true virtue is opposite to traditional virtue and is possessed by only a few people. ; Superior people wage war against the common people and resist the democratic trend of the times; the power of will is above all else, and in order to have the ability to harm others and endure pain, Spartan discipline must be implemented, which is even more painful; men should be trained to fight, women It should be trained for the entertainment of soldiers, etc... Sample essay 7 after reading "The Birth of Tragedy"
"The Birth of Tragedy" translated by Miu Langshan, this is the first Nietzsche book I have read. It is very surprising. Unexpected. I didn’t know that such a famous philosopher would write a book about aesthetics. Although it talks about the birth of Greek tragedy, it talks about the spirit of Greek tragedy and hopes to use this spirit as the driving force of life. .
It has been a long time since I stopped thinking about why people are alive. First of all, my brain is not strong enough. Secondly, the few times I have thought hard in my youth have led me to a kind of nihilistic pain and hesitation. .
Now, whenever I feel that life is meaningless, I habitually use TV and this more meaningless thing to fill the time I don’t know what to do with, and then stand up again and devote myself to endless trivial matters.
On the other hand, when Mr. Tong Ming discussed the significance of Mu Xin’s style that I saw a few days ago, he briefly introduced the explanation of the spirit of Greek tragedy derived from Nietzsche, which made me feel a little comforted: "The so-called tragedy The meaning is knowing that man and nature are insignificant and disharmonious, but insisting on this basis: man can be as great as nature because of his life and creativity, and man is beautiful because of this greatness. Human dignity formed by singing, being intoxicated, and dancing is the realm of tragic art.”
Similarly, Tong Ming believes: “Nietzsche’s philosophy is undoubtedly the most important index of modern and world-wide aesthetic thinking.”
So, understanding Nietzsche cannot be achieved by just reading this book, nor can it be achieved by just reading it once. It is necessary to continue reading.
Maybe I should play Wagner’s opera records while reading Nietzsche’s book?