Sections 7–10 of The Birth of Tragedy see Nietzsche hone in on the origins of the tragic drama and how it evolved into the mature tragedies of Aeschylus and Sophocles. Tragedy springs from the chorus, itself an outgrowth of Dionysiac cult worship. From here the transformative power of the citizen's participation in the chorus – in its music, dance and song – give birth to increasingly sophisticated and exquisite Apolline images (in the guise of dialogue and mask), which in turn depict and complement the Dionysiac powers. In this manner, Apollo and Dionysos reconcile in a reciprocal relationship in the one art form, revealing to the Greek the awful nature of existence while simultaneously deifying that existence in art. For the Greek at the precipice of negating life itself, “art saves him, and through art life saves him – for itself” (BT, 40).