I'm like Nietzsche fighting a never ending war against modern dogma

Walter Kaufmann wrote that Nietzsche “celebrates the Greeks who, facing up to the terrors of nature and history, did not seek refuge in ‘a Buddhistic negation of the will,’ as Schopenhauer did, but instead created tragedies in which life is affirmed as beautiful in spite of everything. Schopenhauer’s negation of the will was a saying “no” to life and to the world, which he judged to be a scene of pain and evil. “Directly against Schopenhauer’s place as the ultimate nay–sayer to life, Nietzsche positioned himself as the ultimate yes–sayer….” Nietzsche’s affirmation of life's pain and evil, in opposition to Schopenhauer, resulted from an overflow of life. Schopenhauer’s advocacy of self–denial and negation of life was, according to Nietzsche, very harmful. For his entire mature life, Nietzsche was concerned with the damage that he thought resulted from Schopenhauerian disgust with life and turning against the world..


Nietzsche viewed tragedy as the art form of sensual acceptance of the terrors of reality and rejoicing in these terrors in love of fate (amor fati), and therefore as the antithesis to the Socratic Method, or the belief in the power of reason to unveil any and all of the mysteries of existence. Ironically, Socrates was fond of quoting from tragedies.


Nietzsche in "What I Owe to the Ancients" in his Twilight of the Idols wrote: "The psychology of the orgiastic as an overflowing feeling of life and strength, where even pain still has the effect of a stimulus, gave me the key to the concept of tragic feeling, which had been misunderstood both by Aristotle and even more by modern pessimists. Tragedy is so far from being a proof of the pessimism (in Schopenhauer's sense) of the Greeks that it may, on the contrary, be considered a decisive rebuttal and counterexample. Saying Yes to life even in its strangest and most painful episodes, the will to life rejoicing in its own inexhaustible vitality even as it witnesses the destruction of its greatest heroes — that is what I called Dionysian, that is what I guessed to be the bridge to the psychology of the tragic poet. Not in order to be liberated from terror and pity, not in order to purge oneself of a dangerous affect by its vehement discharge — which is how Aristotle understood tragedy — but in order to celebrate oneself the eternal joy of becoming, beyond all terror and pity — that tragic joy included even joy in destruction."