In the Birth of Tragedy, Socratism is introduced as the means that undermine and ultimately destroy Greek tragedy and the tragic outlook. Nietzsche shows, via a description of the development of art in ancient Greece, how the paradigm shifted from being instinctually to rationally based. In the older tragedies of Aeschylus we find unfathomable Dionysian depth hinted at behind each scene, a depth that does not justify itself, for this very occult nature can have no justification except in its own appearance, nothing further is required of it. Euripides -with Socrates speaking through him- whom Nietzsche charges with th!.
e death of tragedy, could not see the value in the representation of the titanic, terrible beauty of the Dionysian. Nietzsche writes the following on Euripides reaction to the older tragedy:.
"And here he encountered something which can come as no surprise to anyone who has been initiated into the deep secrets of Aeschylean tragedy: he perceived something incommensurable in every feature and every line, a certain deceiving definiteness, and at the same time a puzzling depth, indeed infinity, in the background. Even the clearest figure still trailed a comet's tail after it which seemed to point into the unknown, into that which cannot be illuminated. The same twilight covered the structure of the drama, particularly the significance of the chorus. And how dubious the solution of the ethical problems seemed to him! How questionable the treatment of the myths! How uneven the distribution of happiness and unhappiness!" (Nietzsche p59 1999) .
That is, Euripides, looking though the eyes of Socratic reason, could not understand the beauty in the inexplicable monstrous rumblings behind Aeschylean tragedy. Thus through the Socratic impulse to clarity and explanation he extirpated the Dionysian out of tragedy, replacing it with reason behind the action of his characters. Socratism then for Nietzsche is a form of reaction against a position of unconscious naivete.
In Goethe's Faust, the lead character is a man named Faust who makes a bet with the Devil, referred to as Mephistopheles. The virtues of Faust are often argued. ... This would seem to represent the loss of control by Faust and the power of Mephisto to bend Faust's will. ... Faust does ultimately return to God. ... In the end, Faust proved to be as virtuous as anyone. ...
The concerto is based off of Goethe's Faust. ... The first movement sets Faust in Hungary in the nature. ... The second movement is where Faust meets Méphistophélès, a Satan figure who lures Faust into sleep where he dreams of Marguerite. ... In the fourth movement, Faust learns that Marguerite is in trouble and begs Mephistopheles for help. ... It shows the different struggles with the characters and how they prevail, or not in Faust's case. ...
In the story of Faust the main character, Faust, is pushed to evil, after a long period of self-torment. ... But that was not enough for Faust; he wanted the knowledge of the gods. ... Faust agreed to this, and at once the devil was Faust's servant doing what Faust wanted. ... Faust saw a girl, a girl he thought that he must have. ... Soon the girl was pregnant with Faust's child, soon after he abandoned her. ...
Nietzsche, however, took the opposite approach to this impossible task. Nietzsche gave no value to anything. ... Nietzsche basically told the whole world to screw off. ... Nietzsche's theory entails that human beings are basically and only egotistical. ... Nietzsche also has interesting ideas on the difference between good and evil. ...
As a philosopher, Nietzsche tried to change to world with his prose by discussing societal values and ascetics. ... Nietzsche's view of art is, at the same time, the most sublime and metaphysical. ... Although Nietzsche was strongly against the Christian moral sentiment and German nationalism, Nietzsche himself is just as guilty for he himself was a master of manipulation with his work Genealogy of Morals. ... Like a true artist, Nietzsche never let morals or some sort of doctrine dictate his art. ... Nietzsche and Bishop's art are highly elaborated and ornamental poetic pieces o...
Nietzsche claims that we live in an historical age that is " beyond good and evil." ... Nietzsche believes that no history can be defined and claims that there is no such thing as something that has no history. Through examining Nietzsche it becomes evident that searching for the definition of species is not only futile but also unnecessary. ... Unlike Hobbes Nietzsche believed that our value systems are culturally determined, they arise not from conventional folk wisdom. ... Humans described by Nietzsche are like human culture and have a history. ...
Assess Nietzsche's View Of Truth In the first section of Beyond Good and Evil (BGE) it is clear that Nietzsche's view on truth is that there is no such thing as "T"ruth. ... This is otherwise known as Nietzsche's Perspectivism. ... Nietzsche also argues that living without falseness is impossible. ... But it also leads to Nietzsche's view of immediate certainties. ... Also Nietzsche's account of truth is too complicated. ...
Goethe's Faust does not contain such a bargain with the Devil. ... The Lord bets Mephistopheles that he won't be able to make Faust deviate from "the appointed course," and Faust bets Mephistopheles that he won't be able to make any moment so pleasurable that Faust will cry out for time to stop. Thus, the bet between Faust and Mephistopheles concerns fulfillment. If Faust is ever tempted to stop reaching for something new, he will forfeit his soul. ... This aspect slightly differs from Goethe's Faust in that Faust is lured and chooses either to go or not go while in Bedazzl...
