Abstract

Nietzsche’s Birth of Tragedy overcomes the opposition between scientific optimism and Schopenhauerian pessimism with the image of a music-making Socrates, who symbolizes the aesthetic affirmation of life. This article shows how the aesthetic ideal is an illusion whose metaphysical solace undermines itself in being recognized as such, thereby ceasing to be comforting. While I agree with recent commentaries that contest the pervasive Schopenhauerian reading of The Birth, most of these commentaries still support the view that Nietzsche wishes to communicate some fundamental truth about nature or meaning in life. By contrast, I argue that he treats any such truth as a cultural fiction emerging from the poetic staging of reality, leaving us with a contradiction of appearances deprived of any intelligible ground.