Abstract
In earlier chapters we suggested, but did not emphasise, that original tragedy should be taken to provide the criterion for future varieties of the tragic — the criterion of tragic spirit, not of artistic excellence. To whatever extent later forms differ from an obscure first form, they ought not to have a manifestly different purpose. It is the purpose which is tragic, and at the birth of tragedy that purpose was to celebrate the reconciliation of nature with her ‘lost son, man’.1
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Notes and References
BT, Section 1, p. 37.
BGE, Part One, ‘On the Prejudices of Philosophers’, Section 14, pp. 21f. See also above, Chapter 1, p. 9f.
WP, Book Four, ‘Discipline and Breeding’, no. 1050, p. 539.
See above, Chapter 2, p. 47.
See Martin Heidegger, Nietzsche, Volume 1 — The Will to Power as Art, trans. from the German with notes and an analysis by David Farrell Krell (Routledge and Kegan Paul, 1981).
The Times, Letters, 28 November 1919.
See Michael Meyer’s Ibsen (Harmondsworth: Penguin Books, 1974) p. 572.
Henrik Ibsen, The Oxford Ibsen, Volume vi, ‘An Enemy of the People’, trans. and ed. James Walter McFarlane, (Oxford University Press, 1960).
See F. Nietzsche, Daybreak — Thoughts on the Prejudices of Morality (D), trans. R. J. Hollingdale with an intro. by Michael Turner (Cambridge University Press, 1982) Book 1, Section 18, pp. 17ff.
The Oxford Ibsen, Volume i, Early Plays, trans. and ed. by James Walter McFarlane and Graham Orton (Oxford University Press, 1970) ‘Introduction’, p. 1.
Bernard Shaw, Everybody’s Political What’s What (Constable, 1944) p. 2.
Henrik Ibsen, The Oxford Ibsen, Volume i, Catiline, Act Three.
WP, Book Two, ‘Critique of the Highest Values Hitherto’, no. 351, p. 192.
BGE, Part Nine, ‘What is Noble’, no. 259, p. 203.
Henrik Ibsen, The Oxford Ibsen, Volume i, The Vikings at Helgeland, Act Three.
See AC, Section 29, p. 141 and above, Chapter 5, p. 105f.
Ibid., Section 39, p. 151.
See The Oxford Ibsen, Volume iii, trans. J. Kirkup and G. Fry, ed. James Walter McFarlane (Oxford University Press, 1970) p. 21. Letter of 28 October 1870.
See Michael Meyer, Ibsen (Harmondsworth: Penguin Books, 1974), abridged version of biography published by Rupert Hart-Davis, p. 395.
Henrik Ibsen, The Oxford Ibsen, Volume vii trans. Jens Arup and James Walter McFarlane ed. James Walter McFarlane (Oxford University Press, 1966). The Master Builder, Act One.
Henrik Ibsen, The Oxford Ibsen, Volume vi, Rosmersholm, Act One.
WP, Book One, ‘European Nihilism’, Section 1, p. 67.
See Meyer, Ibsen, pp. 373ff. Letter to Brandes of 4 April 1872.
See EH, ‘Why I Write Such Good Books’, Section 5, p. 267 where Ibsen is called a ‘typical old virgin’, one of those who ‘aims to poison the good conscience, what is natural in sexual love’. As the editor, Walter Kaufmann, remarks, Nietzsche cannot have known many of Ibsen’s works.
BGE, ‘Our Virtues’, no 230, pp. 161ff.
Henrik Ibsen, The Oxford Ibsen, Volume vii, trans, and ed. James Walter McFarlane, John Gabriel Borkman, Act Four (Oxford University Press, 1977).
WP, Book Three, ‘Principles of a New Evaluation’, no. 503, p. 274.
F. R. Southerington, Hardy’s Vision of Man (Chatto and Windus, 1971) p. 69.
Ibid., p. 70.
See Robert Gittings, Young Thomas Hardy (Penguin Group, 1988), Chapter 17, ‘Moule’. Originally published by Heinemann Educational Books, 1975.
Thomas Hardy, The Return of the Native, Book Second, Chapter iii.
Ibid.
Ibid., Book Second, Chapter VI.
Ibid., Book Third, Chapter I.
HAH, ‘On the History of the Moral Sensations’, no. 107, p. 57.
Thomas Hardy, Tess of the D’Urbervilles, Phase the Fourth, Chapter XXXI.
Ibid., Chapter XXXVI.
Barbara Hardy, The Appropriate Form, (Athlone Press, 1964) pp. 70f.
Thomas Hardy, Jude the Obscure, Part Sixth, Chapter iii.
Ibid.
See Thomas Hardy, ‘Literary Notebook’, iii, xiv (not published but kept in the Dorset County Museum).
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© 1990 Keith M. May
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May, K.M. (1990). Ibsen and Hardy, Nature’s Lost Sons. In: Nietzsche and the Spirit of Tragedy. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-09882-8_6
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