As Schiller saw, that the Greek chorus of satyrs, the chorus of primitive tragedy, moved on ideal ground, a ground raised high above the common path of mortals.
But I very much fear that we, with our idolatry of verisimilitude, have arrived at the opposite pole of all idealism, the realm of the waxworks.
While the day of the stage was conceded to be artificial, the architecture of the set symbolic, the metrical discourse stylized, a larger misconception still pr
We suspect that the birth of tragedy can be explained neither by any reverence for the moral intelligence of the multitude nor by the notion of a spectator with
We had put our faith in an artistic audience, believing that the more intelligent the individual spectator was, the more capable he was of viewing the work of a
We had supposed all along that the spectator, whoever he might be, would always have to remain conscious of the fact that he had before him a work of art, not e
That tradition tells us in no uncertain terms that tragedy arose out of the tragic chorus and was, to begin with, nothing but chorus. We are thus bound to scan
I believe I am saying nothing extravagant when I claim that the problem of these origins has never even been posed, much less solved, no matter how often the el
Whenever it engages in the imitation of music, language remains in purely superficial contact with it, and no amount of poetic eloquence will carry us a step cl
Once we set it over against music, all appearance becomes a mere analogy.So it happens that language, the organ and symbol of appearance, can never succeed in b