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The philosophies of these scholars simply show that tragedy is based on a lie and this is seen s a positive side of the tragedy. Tragedy is an attractive since it appears tormenting and bloody, there is an increased human need to hear about fire, murder, plague, massacre, rape, and earthquakes. This is a very serious peculiarity of the dual nature of individuals in seeking out the dark sides of the self. Conceivably this negative indulgence is somehow acceptable given that the real protagonist will eventually emerge dignified from its very presence. That we can end up heroines and heroes, and that we can look at the tragic things and learn from them is great. The Art of Tragedy in contrast to the fact of the tragic occurrence emerges with increased force with some ages as compared to the others (Clifford Leech, p. 12). One is likely to think of the contemporary age whenever the tragic events are actually rife and with the capacity of technology to show the global occurrence, the art form is likely to dominate the globe.
The very tragic nature of the world, although not actually unrelated to the tragic art, is not a dictation of the emergence of tragic art form. It is specific moment in the history that actually favors the emergence and subsequently clear that our age does not actually rise to it. Tragic theatre is always considered the highest form of the art. Its power to ensure that the life of woman and man are dignified in the wake of horrors of the human existence is likely to be one of the reasons it has received such accolade. John Milton, Ovid Aristotle, Nietzsche, and Hegel have praised its necessity, superiority, and wisdom (Ann, p. 32).
Examining the works of the four theorists across the time, this paper attempt to highlight some of the agreement or similarities that they have in terms of what strategy is in this context. The art of tragedy is concerned with several issues that the theorists are in agreement with, these include: the fact that tragedy occurs against the very backdrop of the incomprehension. This simply means that the world cannot actually be understood in its very entirety since evil and mystery stalks it. The tragic characters through the sufferings have become enlightened about the very human value and there is also a valorization of the existence. Moreover, the story involved is actually dealing with the serious issues such as politics, moral world view, and familial. It is representational that actually entails some action. Tragedy ends with the return or the construction of the new value related order. Incase one is attracted to the analysis of tragedy, Nietzsche goes ahead to explain that (Maxwell, p. 48);
If we look about us today, with eyes refreshed and fortified by the spectacle of the Greeks, we shall see how the insatiable zest for knowledge, prefigured in Socrates, has been transformed into tragic resignation and the need for art; while, to be sure, on a lower level the same zest appears as hostile to all art and especially to the truly tragic, Dionysiac art, as I have tried to show paradigmatically in the subversion of Aeschylean art by Socratism.
Each of the theorists poses a view of tragedy that then could be applied to the film or a play. Aristotle focuses on the tragic hero who has offended the laws of the cosmos, while Hegel Argues that tragedy lies within a collision of two goods. This collision results in the destruction of both heroes but from that there is a synthesis, a change in the characters affected by the tragedy. Nie.............
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