But to this contempt of Socrates with regard to the tragedy, Nietzsche responds with a severe questioning: the thought of Socrates establishes and embodies the rationalist dogmatism on which is founded the modernity, to which you can oppose the truth of the tragedy as a courageous and honest way to deal with the reality of our world, a reality "chaotic, cruel and ultimately impenetrable to 'human reason" (Ahrensdorf). The path of the tragedy is for Nietzsche a course possible for the man of these times, a track to our understanding is desencandile brightness deceptive one reason we have done amounts to the truth, and that is no longer aware of something that does not pass unnoticed by the tragedy: "The tragedy heard a far and melancholic sign: it speaks of the causes generating to be, which are called illusion, will, pain" (Nietzsche). The defense of the tragedy by Nietzsche must be interpreted beyond the limits of the individual experience, it is not a call to reposition the tragic experience as the nucleus around which must gravitate the existence particularized that characterizes the modern subject; on the contrary, to defend the tragedy Nietzsche opposes precisely to the Western liberal tradition and the democratic rationalism …show more content…
It is precisely the interbreeding of the political and legal problems of the city (the role of the rulers, the function of the law, the effects of their transgression, etc.) with the heroes, which transforms the tragedy in a privileged space of representation from which open the debate on the relationship between the law and the desire. The link between law and desire is especially clear in the tragedies of Sophocles, in particular those that involve Oedipus and their descendants; the argument of each one of them put in evidence an impossibility in the center of the sovereign good, because there is something that always comes to overwhelm the regulations of man and of the gods, an intramitable excess and that, paradoxical as it may seem, is inseparable from the adherence to the law. It should be recalled here, briefly, that the destiny of Oedipus and their descendants is sealed as soon as it complies with the laws of the city and espouses to his own mother; this means that their transgression, not only does it stain to him but to all his lineage, is the effect of the own order to which must adhere. Is the very structure of human acts, a structure beset by an irreducible conflict, which is displayed and processed in the tragedy, but without it reach the solution to resolve definitively the trade-offs that are