Abstract

In his later years, Nietzsche restores the privileged position he gave to tragic art in The Birth of Tragedy. A careful reading shows that, despite the strong opposition between them, the tragic spirit and Romantic pessimism have more than one thing in common, especially when one focuses less on the theoretical issues and more on the impact of each theme on the human psyche. This paper aims to answer two questions: (1) what is the element that can be a distinguishing feature in relation to the effects of each, and (2) how does this element operate differently in the tragic spirit and in romantic pessimism. To answer these questions, it is not enough to invoke Nietzsche’s distinction between abundance and exhaustion. What is needed is a careful analysis of the complex role of action and contemplation in the particular kind of aesthetic experience on which ancient Greek tragedy is based.