The Birth Of Tragedy The Birth Of Tragedy No. 147 The origin of the myth of tragedy

2016-08-28 「 2638 words / 5 minute 」
The Birth Of Tragedy The Birth Of Tragedy No. 147 The origin of the myth of tragedy.jpg
Those who have never had the experience of having to see at the same time that they also longed to transcend all seeing will scarcely be able to imagine how definitely and clearly these two processes coexist and are felt at the same time, as one contemplates the tragic myth.
But all truly aesthetic spectators will confirm that among the peculiar effects of tragedy this coexistence is the most remarkable.
Now transfer this phenomenon of the aesthetic spectator into an analogous process in the tragic artist, and you will have understood the genesis of the tragic myth.
With the Apollinian art sphere he shares the complete pleasure in mere appearance and in seeing, yet at the same time he negates this pleasure and finds a still higher satisfaction in the destruction of the visible world of mere appearance.
The content of the tragic myth is , first of all, an epic event and the glorification of the fighting hero.
But what is the origin of this enigmatic trait that the suffering and the fate of the hero, the most painful triumphs, the most agonizing oppositions of motives, in short, the exemplification of this wisdom of Silenus, or, to put it aesthetically, that which is ugly and disharmonic, is represented ever anew in such countless forms and with such a distinct preference--and precisely in the most fruitful and youthful period of a people? Surely a higher pleasure must be perceived in all this.
That life really so tragic would least of all explain the origin of an art form--assuming that art is not merely imitation of the reality of nature but rather a metaphysical supplement of the reality of nature, placed beside it for its overcoming.
The tragic myth too, insofar as it belongs to art at all, participates fully in this metaphysical intention of art to transfigure. But whatdoes it transfigure when it presents the world of appearance in the image of the suffering hero? Least of all the "reality" of this world of appearance, for it says to us: "Look there! Look closely! This is your life, this is the hand on the clock of your existence."