This unfinished essay on Aesthetics is one of his earliest commentaries on beauty, art and language. Here he asserts that music is the primary and more profound form of expression than language. He argues that words serve as mere accompaniments to the deeper, more universal language of music, which taps into the primal emotions and experiences of human existence. This essay foreshadows Nietzsche's later development of the Apollonian and Dionysian dichotomy in "The Birth of Tragedy," where he further elaborates on the interplay between the rational, structured world of words and the chaotic, instinctual realm of music. This manuscript is a fragment from 1871, published posthumously by his estate in 1901. These fragments, first published under the title "Nachgelassene Fragmente" by his sister, Elisabeth Förster-Nietzsche, along with other scholars, were then re-published in various formats after that -including in a series titled "Gesammelte Werke" (Collected Works), later reorganized and expanded into the "Gesamtausgabe" (Complete Edition), which included comprehensive collections of Nietzsche's notebooks and other writings from various periods of his life. Originally published in 1901, this new 2024 translation from the original German manuscript contains a new Afterword by the translator, a timeline of Nietzsche's life and works, an index with descriptions of his core concepts and summaries of his complete body of works. This translation is designed to allow the armchair philosopher to engage deeply with Nietzsche's works without having to be a full-time Academic. The language is modern and clean, with simplified sentence structures and diction to make Nietzsche's complex language and arguments as accessible as possible.