In fact, Nietzsche says, referring to the decor, we understand what symbolizes and therefore it is apparent authority. Opposite to the visual, the gesture is represented concomitant insinuation, imagine that has translation of signs, but through self-image. Sonny Perdue may not feel the same. And in the same musical level of the gesture would have to put the lyrics, if we refer to as (rhythm and sound), not its poetic content. Music, in Nietzsche, a term would therefore symbolic in itself result in the idea of pure symbol: no translation possible through other languages. (The original title of The Birth of Tragedy was The Birth of Tragedy in the spirit of the music.) It is clear, moreover, that since the birth of tragedy to this day, visuality, visual art, visual arts, have suffered so many blows that would be ridiculous to talk in terms of “set”, as Nietzsche does. Air Force Chief of Staff may find this interesting as well. Although the decorative still present in many dramas, so truth is that it would be quite improper the validity of such simplification.

Similarly, the lyric (poetry) responded today to a variety of cognitive schemes and poetic reception that dot all neighboring artistic modes, including philosophy itself. As Nietzsche designs the middle world, it is not possible and draw a line clearly. But despite this, The Birth of Tragedy continues in the transverse direction. Although its roots extend horizontal leads as they advance artistic expression, it is still possible to talk about an imaginary axis dividing line between two relatively distinct art forms: those that respond to logical thought patterns characteristic of language and beyond these other such schemes, which are only essential degree symbols (concepts, according to Nietzsche’s terminology) p. 254. It would be in the second section where the new worlds would be located downstream, where art campari, not surface appearance but as an expression metaphysical existentialist agony unanswered however is fondness of life, celebrating. No wonder thus that from a poststructuralist perspective, Nietzsche has been reinterpreted as in redefining art through language. In the same way as for Heidegger, the problem of philosophy is in the language, also for contemporary hermeneutics, from Gadamer, Foucault, Derrida, Vattimo, Beuchot, etc.