^{Note 1 in page 544} Friedrich Nietzsche, Werke, Historisch-Kritische Gesamtausgabe, C. H. Beck'sche Verlagsbuchhandlung (München, 1933 f.), ii, 89, 114.—The editorial comment on p. 114, “Anfang fehlt,” is misleading, as it is obvious that the passage on p. 114 is a direct continuation of the one on p. 89.

^{Note 2 in page 545} So in the text.

^{Note 3 in page 545} Op. cit., ii, 114.

^{Note 4 in page 545} Op. cit., ii, 364 f.—Nietzsche's remarks on the conception of fate in this tragedy are also of importance. Fate in Sophocles is said to be something unfathomable and by no means a balancing of individual sin and punishment. Yet it is compatible with a moral order; it is necessary, ethical, in fact the highest possible conception. Nietzsche's view here is essentially Emersonian. He was much attracted by Emerson at this time. cf. GR, xii, 252 f. This view of fate in Sophocles, stripped of its moral aspect, is confirmed by Nietzsche in Die Geburt der Tragödie.

^{Note 5 in page 545} Op. cit., ii, 375.

^{Note 6 in page 546} Das Kunstwerk der Zukunft had appeared in 1850, Oper und Drama in 1851. Nietzsche was obviously familiar with the ideas set forth in these works.

^{Note 7 in page 546} Op. cit., iii, 298.

^{Note 8 in page 547} Op. cit., iii, 207 f.

^{Note 9 in page 547} Dippel's assertion, Nietzsche and Wagner (Bern, 1934), pp. 9–10, that Nietzsche as a result of his enthusiasm for Schopenhauer yielded himself wholly to Wagner's ideas during his student years in Leipzig, does not seem to be supported by the evidence. For a sounder account, cf. Kurt Hildebrandt, Wagner und Nietzsche (Breslau, 1924), p. 180 f.

^{Note 10 in page 547} Op. cit. iii, 319.

^{Note 11 in page 547} Op. cit., iii, 98.

^{Note 12 in page 548} Op. cit., iii, 351.

^{Note 13 in page 548} Richard Wagner, Das Kunstwerk der Zukunft. Gesammelle Schriften und Dichtungen. Vierte Auflage (Leipzig, 1907), iii, 65.

^{Note 14 in page 548} His deviation from this position in some passages of his essay on Beethoven (1870) is only apparent.

^{Note 15 in page 548} Schopenhauer, Sämmtliche Werke, Insel-Ausgabe, Well ah Wille und Vorslellung, i. Teil, 346.

^{Note 16 in page 549} Gesammelte Schriften, iii, 231, 255.

^{Note 17 in page 549} Op. cit., ii. Teil, Kapitel 39.

^{Note 18 in page 550} Gesammelte Schriften, iii, 277; iv, 173 f.

^{Note 19 in page 551} Evidence of this will be offered in a separate article.

^{Note 20 in page 552} Numbers 2, 3, and S may be found in extracts in Nietzsche's Werke, Alfred Kröner Verlag in Leipzig, 1917 f. ZweiteAbteilnng, Bd. ix. They have been edited in complete form by Max Oehler and published by Die Gesellschaft der Freunde des Nietzsche-Archivs (Leipzig, 1926, 1927, 1928, respectively).

^{Note 21 in page 552} Friedrich Nietzsches Gesammelte Briefe, 3. Auflage, Insel Verlag (Leipzig, 1902).

^{Note 22 in page 552} Ursprüngliche Fassung der Geburt der Tragödie. Herausgegeben von H. J. Mette. 7. Jahresgabe der Gesellschaft der Freunde des Nietzsche-Archivs, Beck'sche Verlagsbuchhandlung (München, 1933).

^{Note 23 in page 553} Gesammelte Briefe, ii. Band, October 7, 1869.

^{Note 24 in page 553} Cf. Wagner, Gesammelle Schriften, iii, 143.

^{Note 25 in page 553} Werke, ix, 36.

^{Note 26 in page 553} Cf. Das griechische Musikdrama. 1. Jahresgabe der Gesellschaft der Freunde des Nietzsche-Archivs, herausgegeben von Max Oehler (Leipzig, 1926), p. 22 f.

^{Note 27 in page 553} Op. cit., 24.

^{Note 28 in page 554} Op. cit., 25

^{Note 29 in page 554} Werke, ix, 40 f.

^{Note 30 in page 555} Schopenhauer, Sämmtliche Werke, Insel-Ausgabe, Welt als Wille und Vorstellung, i. Teil, 340.

^{Note 31 in page 555} Werke, ix, 75. Cf. also Walther Hauff, Die Überwindung des Schopenhauerschen Pessimismus durch Friedrich Nietzsche (Halle, 1904), p. 23.

^{Note 32 in page 555} Werke, lx, 76.

^{Note 33 in page 556} “In Socrates hat sich jene eine Seite des Hellenischen, jene apollinische Klar heil, ohne jede fremdartige Beimischung verkörpert: wie ein reiner, durchsichtiger Lichtstrahl erscheint er, als Vorbote und Herold der Wissenschaft, die ebenfalls in Griechenland geboren werden sollte.” Cf. Socrates und die Tragödie. 2. Jahresgabe der Gesellschaft der Freunde des Nietzsche-Archivs, herausgegeben von Max Oehler (Leipzig, 1927), p. 20.

^{Note 34 in page 556} Wagner's influence on Nietzsche is noticeable at this point in the praise of Shakespeare at the expense of the Greeks. Cf. Werke, ix, 57, 58, and Richard Wagner, Gesammelte Schriften, iii, 268.

^{Note 35 in page 556} Wagner also held that the course of Greek tragedy moved “unstreitbar aus dem Schosse der Lyrik zur Verstandesreflexion hin.” Cf. Gesammelte Schriften, iv, 144.

^{Note 36 in page 556} Werke, ix. 76 (spring of 1870).

^{Note 37 in page 556} Ibid., 74, where the intellect is declared to be unconditionally subordinate to the “Will.”

^{Note 38 in page 557} Op. cit., 77.

^{Note 39 in page 557} Op. cit., 79.

^{Note 40 in page 557} Nietzsche in the end of course brings these also under the category of “illusions” by which the “Will” disguises more subtly the universal urge for power.

^{Note 41 in page 557} Op. cit., 77.

^{Note 42 in page 558} Op. cit., 78–79.

^{Note 43 in page 558} Op. cit., 79.

^{Note 44 in page 558} Op. cit., 55.

^{Note 45 in page 558} Op. cit., 81.

^{Note 46 in page 558} Op cit., 82.

^{Note 47 in page 558} In his Briefe über die aesthetische Erziehung des Menschen.

^{Note 48 in page 559} Werke, iii, Abteilung, xvii, 298.

^{Note 49 in page 559} Op. cit., 295–296.

^{Note 50 in page 560} Op. cit., 320 f.

^{Note 51 in page 560} Ibid.

^{Note 52 in page 560} Werke, xvii, 297.

^{Note 53 in page 561} Op. cit., 301.

^{Note 54 in page 561} Op. cit., 302, and Note.

^{Note 55 in page 561} Nietzsche's warm defense of Schiller's experiment with a chorus in Die Braut von Messina, Werke, xvii, p. 310 f., can readily be understood in this connection. He agrees with the validity of Schiller's arguments, as summarized under four heads. The chorus represents the following advantages: (1) The restoration of a poetic (i.e., anti-realistic) world. (2) Liberation from the world of action and free scope for poetic reflection. (3) The lyrical language of the chorus forces the poet to elevate the whole level of the tragedy. (4) The predominance of passion is avoided and calm is brought into the tragedy. “Das Gemüt des Zuschauers soll in der heftigsten Aktion seine Freiheit bewahren. Wir sollen uns nicht mit dem Stoff vermengen.” The charge of poor psychological motivation usually brought against this tragedy of Schiller is irrelevant, since the chorus shifts the emphasis away from reflection to emotion. “Instinktiv wurde auch bei Schiller die Weltanschauung dieselbe wie die des Sophocles. Er hatte in dem Chor zum ersten Mal ein Mittel, die Verschmelzung mit dem Stoff, die Hingabe an orgiastische Erschütterung zu verhüten: jetzt konnte er nach dem furchtbarsten Hintergrunde, greifen, wie es kein dramatischer neuerer Dichter gewagt hat... Die Welt als ein Rätsel.”

^{Note 56 in page 562} Op. cit., 315 f.

^{Note 57 in page 562} Op. cit., 316 f.

^{Note 58 in page 563} Gesammelte Briefe, i, 175.

^{Note 59 in page 563} Now available in its complete form as edited by Dr. Max Oehler, dritte Jahresgabe der Gesellschaft der Freunde des Nietzsche-Archivs, 1933.

^{Note 60 in page 564} Inself-Ausgabe, Parerga und Paralipomena, i. Teil, 277.

^{Note 61 in page 564} Wagner also employs it in his Beethoven.

^{Note 62 in page 564} The idea that any kind of art, even the Dionysian lyric, admitted the pathological admixture of “Will,” or desire, is of course rejected a little later in Die Geburt der Tragödie. It is in fact the chief test by which Nietzsche classes Wagner with the “Romanic” (modern) type rather than with the Greek (tragic, naïve).

^{Note 63 in page 564} This conception of the “Will” as Weltenharmonie is important. It is far from Schopenhauer and really is identical with the “Idyllic” view of tragedy, which Nietzsche abandoned before the final version of Die Geburt dar Tragödie and which he by that time definitely attributed to Wagner.

^{Note 64 in page 564} The definition of the form of this coöperation is the central problem in both Nietzsche's Geburt der Tragödie and Wagner's Beethoven. Their results are widely divergent.

^{Note 65 in page 565} Werke, ix, 90.

^{Note 66 in page 566} Werke, ix, 88.

^{Note 67 in page 567} Werke, ix, 93.—Wagner denied the power of poetry to express feeling adequately. Nietzsche's strange fascination at this time is obvious in his acceptance of this idea, a position in reality totally foreign to his disposition. Earlier in the year (1870) he had put down in his notes a modification of this extreme view: “Die Dichtung ist häufig auf einem Wege zur Musik; indem sie die allerzartesten Begriffe aussucht, in deren Bereich das Grobmaterielle des Begriffs fast entschwindet.” Werke, ix, 70. This observation may be taken as a protest of the poet against the tyranny of the musician. Cf. also Kurt Hildebrandt, Wagner und Nietzsche, p. 384.

^{Note 68 in page 567} Werke, ix, 97.

^{Note 69 in page 568} Op. cit., 99.

^{Note 70 in page 568} Werke, ix, 92. Italics mine.

^{Note 71 in page 568} Elisabeth Förster-Nietzsche: Wagner und Nietzsche zur Zeit ihrer Freundschaft, (München 1915), p. 70 f., and Werke, ix, 455.

^{Note 72 in page 568} Werke, ix, 456.

^{Note 73 in page 568} Elisabeth Förster-Nietzsche, op. cit., p. 72.

^{Note 74 in page 569} Op. cit., 72 f., and Nietzsches Briefe, iii, 120, Historisch-Kritische Gesamtausgabe.

^{Note 75 in page 569} Socrates und die griechische Tragödie. Ursprüngliche Fassung, hsg. V. H. J. Mette (1933). Cf. esp. p. 109. The essential evidence in the essay bearing on the present discussion is also to be found in Werke, ix, 212–269.

^{Note 76 in page 569} Cf. also Werke, ix, 212–224.

^{Note 77 in page 569} Beginning: “Diese ganze Erörterung hält daran fest,” etc.

^{Note 78 in page 570} Inseif-Ausgabe, Parerga ii, Zur Metaphysik des Schönen und Aesthetik, § 220.

^{Note 79 in page 570} Werke, ix, 220.

^{Note 80 in page 570} Op. cit., 221. The words bewusstem Geiste clearly fit Wagner's attempt in his Beethoven to improve on Schopenhauer.

^{Note 81 in page 571} Cf. above, p. 553.

^{Note 82 in page 571} Werke, ix, 223.

^{Note 83 in page 572} Op. cit., 224.

^{Note 84 in page 572} Werke, ix, 238.

^{Note 85 in page 572} Op. cit., 236.

^{Note 86 in page 573} Op. cit., 238.

^{Note 87 in page 573} Op. cit., 239.

^{Note 88 in page 573} Op. cit., 240.

^{Note 89 in page 573} Op. cit., 241.

^{Note 90 in page 573} Op. cit., 256.

^{Note 91 in page 573} Op. cit., 241.

^{Note 92 in page 574} Op. cit., 241.

^{Note 93 in page 574} Op cit., 242, 248–249.

^{Note 94 in page 574} Op. cit., 248–249.

^{Note 95 in page 574} Op. cit., 242.

^{Note 96 in page 574} Op. cit., 249.

^{Note 97 in page 574} Ibid.

^{Note 98 in page 574} Op. cit., 250–251.

^{Note 99 in page 575} Op. cit., 231.

^{Note 100 in page 575} Op. cit., 254.

^{Note 101 in page 575} Op. cit., 253–254.

^{Note 102 in page 575} “Wagner ist vor allem als Muskier zu beachten: seine Texte sind ‘Musikdunst.‘” Op. cit., 254.

^{Note 103 in page 576} Op. cit., ix, 254–255.

^{Note 104 in page 576} Ibid.

^{Note 105 in page 577} Op. cit., ix, 257.

^{Note 106 in page 577} Op. cit., 258.

^{Note 107 in page 577} Gesammelte Schriften, ix, 81.

^{Note 108 in page 577} Nietzsche's attempts to compromise with his conscience in the published version of Die Geburt der Tragödie (1872) justify a study of the essay from that point of view—a study which the present writer has now completed.