<Table> <Tr> <Td> </Td> <Td> This section needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed . (January 2017) (Learn how and when to remove this template message) </Td> </Tr> </Table> <Tr> <Td> </Td> <Td> This section needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed . (January 2017) (Learn how and when to remove this template message) </Td> </Tr> <P> Although the use of the concepts of the Apollonian and Dionysian is linked to Nietzsche's The Birth of Tragedy, the terms were used before him in German culture . The poet Hölderlin spoke of them, while Winckelmann talked of Bacchus, the god of wine . Rudolf Steiner as well treated in depth of the Apollonian and Dionysian (called "Apollinisches und Dionysisches" in German) and placed them in the general history and spiritual evolution of mankind . </P> <P> Nietzsche's aesthetic usage of the concepts, which was later developed philosophically, first appeared in his book The Birth of Tragedy, which was published in 1872 . His major premise here was that the fusion of Dionysian and Apollonian "Kunsttriebe" ("artistic impulses") form dramatic arts, or tragedies . He goes on to argue that this fusion has not been achieved since the ancient Greek tragedians . Nietzsche is adamant that the works of Aeschylus and Sophocles represent the apex of artistic creation, the true realization of tragedy; it is with Euripides that tragedy begins its downfall ("Untergang"). Nietzsche objects to Euripides's use of Socratic rationalism (the dialectic) in his tragedies, claiming that the infusion of ethics and reason robs tragedy of its foundation, namely the fragile balance of the Dionysian and Apollonian . </P>

Who is the person who first labeled apollonian and dionysian responses as such