O nascimento da Comédia: a crítica de Nietzsche ao teatro de Eurípides

Abstract

In The Birth of Tragedy, music possesses a Dionysian force capable of enrapturing the Hellenic on the stage of Attic tragedy. For Nietzsche, it is music that generates the myth, and the musical mood that governs all disposition for art and all the deep meaning of art as redemption, salvation and justification of life as an aesthetic phenomenon. We seek to examine here the process that led to the end of the tragic art of the Greeks, in the sense of observing Socratism before the figure of Socrates appeared among the Hellenes. The inclination for clarity and logic in the narrative of Greek musical drama already provides Sophocles, but especially in Euripides, the change that introduces, in art, the logic to the detriment of the tragic. The muses of music are constrained until they leave the stage and empty the myth of its musical force, killing the tragedy. What remains is a figurative presence that, starting from Euripides, gives rise to comedy, which puts an end to tragic pessimism, through the optimism of reason.