Myth re-enacts for us a story we all know, and in tragedy it does it in musical terms, though there is the problem, which Nietzsche later addresses, of what Greek music was like, since it is something of which we have little knowledge. But by affecting us at a level at which only music can, it enables us to come to an apprehension of the nature of what we are witnessing, which is, finally to introduce the most famous term of BT, Dionysiac. And once we begin to grasp the force of that term, and what it denotes, for Nietzsche, together with its complementary ‘Apolline’, we can begin to follow,
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