Contents -- Introduction -- 1. Context -- 2. Overview of Themes -- 3. Reading the Text -- An Attempt at Self-Criticism' -- Foreword: Art, Wagner and War -- Section 1: The Apolline and Dionysiac as Art- Drives and 'Living Concepts' -- Envisaging a New Science of Aesthetics. Note: Nietzsche and Darwin -- Section 2: The Drives at Work in Pre-Socratic Greece -- Three Types of Symbolization -- Psychogenesis of the Dionysian in Asia and in Greek Culture -- Section 3: The Origins of 'Genealogy': Psychogenesis of the Apollonian in the Greek 'Character'. Note: Nietzsche, German 'Hellenism' and Hölderlin -- Section 4: Necessity of Relationship between the Drives: their 'Reciprocal Intensification' -- the 'Ethics' of the Drives -- the Five Periods of Greek Culture -- Introduction of 'Attic Tragedy' -- Section 5: Historical Manifestation of the 'Third Type' of Symbolization: Archilochus, the 'Father' of Tragedy -- The Fusion of the Drives in Lyric Poetry -- Section 6: Folk Song -- Fusion of Language and Music -- Section 7: The Chorus as Historical Nucleus of Tragedy -- Nietzsche's Critique of Hegel -- Section 8: The Chorus as Earliest Cell of Tragedy -- Modern Poetry and Theory of Language. Note: Philosophy of Language in Nietzsche -- Section 9: The Double Meaning of Sophoclean and Aeschylean Tragedy -- Section 10: The Revival of Myth in Tragedy as its Death Throes: The End of the Mythological Age and the Dawning Age of Logic -- Section 11: Euripides as Critic rather than Poet -- Section 12: The Misunderstanding and Repression of the Art-Drives -- Section 13: Socrates - The Axis of Cultural History -- Section 14: Death of Tragedy -- Birth of Modern Art -- Section 15: Science as a Deficient Mode of Art -- Socrates at the Gates of Modernity -- Section 16: Aesthetics of Modern Music Drama. Note: Nietzsche, Music and Style.

Section 17: Death of Myth as the Death of Tragedy -- Section 18: The Crisis of Socratic Modernity. Note: on 'Bildung' -- Section 19: Naïve and Sentimental -- Early Opera - Mismatch of Ingredient Elements -- Section 20: German Education -- Revolutionary Epiphany -- Section 21: Modern Opera - Wagner's Tristan and Isolde as Aesthetic Paradigm -- Section 22: The Aesthetic Listener -- Section 23: The Still Untroubled Unity of the German Spirit -- Section 24: Justification of the World as Aesthetic Phenomenon Radicalised - Theory of Musical Dissonance -- Section 25: The Study of Dissonant Man -- 4. Reception and Influence -- Study Questions -- Notes -- Further Reading -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- W.