The music is situated close to the feeling, as Schopenhauer defined it in a speculative manner through music itself: in the music all the feelings return to its pure State and the world is not only made real music. Nietzsche, in addition, is a victim of its own dialectic: on the idea that in Greece the plastic is associated with Apollonian art while it not plastic (music, dance and lyric) corresponds to a Dionysian art, is clear term music opens to all things that cannot be explained, or that is not product of the mimesis (as artistic reproduction of reality) while would be outside this meaning the visual. In fact, Nietzsche asserts referring to decor – we understand what It symbolizes and it is therefore apparent authority. Opposite to the visual, the gesture is concomitant representation, insinuation, image that has no translation means but through the image itself. And would we place the lyric, when we refer to its shape (rhythm and sonority), not to his poetic content in the same musical scope of the gesture.

Music, in Nietzsche, would therefore be a term in itself symbolic that it is in the idea of pure symbol: without translation possible through other languages. (The original title of the birth of tragedy was the birth of tragedy in the spirit of the music.) On the other hand it is clear that since the birth of the tragedy until today, Visuality, visual art – the arts – have suffered many attacks that it would be ridiculous to talk in terms of decor, as Nietzsche makes it. While the decorative still present in great number of dramatic shows, the is true that the validity of such simplification would be quite improper. Similarly, the lyrical (poetry) responds today to varied cognitive schemes and poetic reception that splashed all bordering artistic modes, including philosophy. As Nietzsche designed the intermediate world, it is not possible because drawing a dividing line in a clear way. But despite this, the birth of tragedy still existing in the transverse direction.

While horizontal referrals extend their roots to advance the artistic expressions, it is still possible to speak of an imaginary axis dividing between two art forms relatively well differentiated: those that respond to logical patterns of thought characteristic of language and those others that escape such schemes, which are only symbols in essential degree (concepts, according to the terminology of Nietzsche) p. 254. It would be in this second section are somewhere where the new intermediate worlds, and where camparia art, not as appearance surface but as metaphysical expression, Existentialist agony unanswered however is querencia of life’s feast. It is not surprising, in this way, a post-structuralist perspective, Nietzsche has been reinterpreted as re-founder of art through the language. In the same way that for Heidegger, the problem of philosophy is in the language, also for the contemporary hermeneutics, from Gadamer, Foucault, Derrida and Vattimo, Beuchot, etc. the knowledge about the truth resides in its interpretation, in signs that sustain it, so that the intermediate worlds lose the essentialist nature granted by Nietzsche to adopt ambiguity and equivocality symptoms. BIBLIOGRAPHY. 1973 Nietzsche F. The birth of tragedy.

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