The Mythological Dimension Of Nietzsche's "The Birth Of Tragedy"

Nietzsche's Exposition of Myth in The Birth of Tragedy mainly focuses on the part after 15 verses.Nietzsche interpreted the three characteristics of the death of the ancient Greek tragedy from the perspective of the concept of Mythology.The first of the three features was the Europa Theatre and the New Atika drama,which replaced the tragedies of Aeschylus and Sophocles in the form of music and crossword combinations.Music no longer expresses the inner nature and the will-self,but is simply an inadequate replica of the appearance.Schopenhauer referred to as "imitation Music",Nietzsche called it "Sound Painting." They only make the phenomenon.And the world is poorer than it actually is,and by contrast,music based on the myth of Dionysus enriches and expands individual phenomena into the epitome of the world's image.At the same time,the myth it creates is the most important example and carrier of symbolic revelation.The second is the psychological portrayal that has been gradually introduced into tragedy since Sophocles.Psychological portrayal refers to psychological realism in character description.In Nietzsche's view,the "universality" of psychological portrayal refers to the universality of the concept,rather than the universality of the mythical symbol.In Euclid and New Atica comedy,characters lose their ability to be expanded into timeless types.Finally,Nietzsche examines the role of tragedy.From providing metaphysical comfort to trying to solve the dissonance of tragedy in the earthly world(that is,the inevitable burden of its survival).The death of Myth is the death of tragedy,and tragedy is the most artistic form of art.Therefore,in the latter part of The Birth of Tragedy,myth and the broad sense of art and aesthetics can be regarded as synonymous.The death of tragedy can be examined from the perspective of Mythology,the birth of tragedy,the formation of art can also be based on myth As an angle for inspection.One of the innovations in this essay is the finding that the word Verkl?rung in Friedrich Nietzsche's work has multiple connotations in German,including deifying,beautifying as well as making something full of glory,based on further review on the original German copy of The Birth of Tragedy.It also attempts to reveal the real construction of ' myth ' in Friedrich Nietzsche's context.This essay includes six parts.To begin with,it explains the reason to choose myth as the studying object,previous studies about the origin of theology in Friedrich Nietzsche's context,and the methodology.The first chapter aims at revealing the new value of Friedrich Nietzsche's ideology in our era,considering the interval between his era and ours,using existing theories including cultural anthropology and evolutionary psychology.Then it explains Verkl?rung,which is highly relevant with The Birth of Tragedy,before an in-depth review of Friedrich Nietzsche's work.It also analyzes the double layer signifiers that myth can be both creativity and fictions.The second chapter explains the first layer of signifiers based on the context.Myth is the origin of all natural creativities,as myth is both the foundation of any culture and an endless horror.Based on Wangwei Han's three natures of Friedrich Nietzsche's context,the chapter distinguishes Friedrich Nietzsche's myth with original myth,and regard the former as a connotation of the 'nature of unconscious men'.The third and fourth chapters explain the Friedrich Nietzsche's myth's linkage with music and language as well as the role of Verkl?rung in the linkage,based on an analysis of myth in Friedrich Nietzsche's context.These chapters also reveal how Friedrich Nietzsche shaped his creative mind by unconscious myth,and how he achieved the 'nature of unconscious men'.Finally,the fifth chapter explains myth in ancient Greek's instinct as well as Verkl?rung's weakened efforts in Socrates' culture.It also refers the potential value generated by analyzing theological dimensions of Friedrich Nietzsche's The Birth of Tragedy.