Aristotle and the Paradox of Tragedy

Total Page:16

File Type:pdf, Size:1020Kb

Aristotle and the Paradox of Tragedy The Angle Volume 1968 Issue 1 Article 2 1968 Aristotle And The Paradox Of Tragedy John Morreall St. John Fisher College Follow this and additional works at: https://fisherpub.sjfc.edu/angle Part of the Creative Writing Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation Morreall, John (1968) "Aristotle And The Paradox Of Tragedy," The Angle: Vol. 1968 : Iss. 1 , Article 2. Available at: https://fisherpub.sjfc.edu/angle/vol1968/iss1/2 This document is posted at https://fisherpub.sjfc.edu/angle/vol1968/iss1/2 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Aristotle And The Paradox Of Tragedy Abstract In lieu of an abstract, below is the essay's first paragraph. "The paradox tragedy in simple terms may be stated thus: human misery is repulsive to us in real life, yet it somehow pleases us in tragedy. Indeed, tragedy is considered by many to be man's highest art form, and to classify a play as a tragedy is to predicate value of it. Why do we get pleasure from reading or watching drama in which our fellow human beings are portrayed as suffering? If anyone would object that we do not take pleasure in tragedy as in a sizzling steak, let him substitute some other word. Why do we receive satisfaction from tragedy, or why do we want to see tragedy?" Cover Page Footnote Appeared in the issue: 1968. This prose is available in The Angle: https://fisherpub.sjfc.edu/angle/vol1968/iss1/2 Morreall: Aristotle And The Paradox Of Tragedy Published by Fisher Digital Publications, 1968 1 The Angle, Vol. 1968, Iss. 1 [1968], Art. 2 https://fisherpub.sjfc.edu/angle/vol1968/iss1/2 2.
Recommended publications
  • Module-9 Background Prose Readings COMEDY and TRAGEDY
    Module-9 Background Prose Readings COMEDY AND TRAGEDY What is comedy? The word ‘Comedy’ has been derived the French word comdie, which in turn is taken from the Greeco-Latin word Comedia. The word comedia is made of two words komos, which means revel and aeidein means to sing. According to Oxford Advanced Learner’s Dictionary, comedy means a branch of drama, which deals with everyday life and humourous events. It also means a play of light and amusing type of theatre. Comedy may be defined as a play with a happy ending. Function of Comedy Though, there are many functions of comedy, yet the most important and visible function of comedy is to provide entertainment to the readers. The reader is forced to laugh at the follies of various characters in the comedy. Thus, he feels jubilant and forgets the humdrum life. George Meredith, in his Idea of Comedy, is of the view that comedy appeals to the intelligence unadulterated and unassuming, and targets our heads. In other words, comedy is an artificial play and its main function is to focus attention on what ails the world. Comedy is critical, but in its scourge of folly and vice. There is no contempt or anger in a comedy. He is also of the view that the laughter of a comedy is impersonal, polite and very near to a smile. Comedy exposes and ridicules stupidity and immorality, but without the wrath of the reformer. Kinds of Comedy 1. Classical Comedy Classical comedy is a kind of comedy, wherein the author follows the classical rules of ancient Greek and Roman writers.
    [Show full text]
  • The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19
    [Show full text]
  • Symbolism of Surface and Depth in Edvard
    MARJA LAHELMA want life and its terrible depths, its bottomless abyss. to hold on to the ideal, and the other that is at the same Lure of the Abyss: – Stanisław Przybyszewski1 time ripping it apart. This article reflects on this more general issue through Symbolist artists sought unity in the Romantic spirit analysis and discussion of a specific work of art, the paint- Symbolism of Ibut at the same time they were often painfully aware of the ing Vision (1892) by Edvard Munch. This unconventional impossibility of attaining it by means of a material work of self-portrait represents a distorted human head floating in art. Their aesthetic thinking has typically been associated water. Peacefully gliding above it is a white swan – a motif Surface and with an idealistic perspective that separates existence into that is laden with symbolism alluding to the mysteries of two levels: the world of appearances and the truly existing life and death, beauty, grace, truth, divinity, and poetry. The Depth in Edvard realm that is either beyond the visible world or completely swan clearly embodies something that is pure and beautiful separated from it. The most important aim of Symbolist art as opposed to the hideousness of the disintegrating head. would then be to establish a direct contact with the immate- The head separated from the body may be seen as a refer- Munch’s Vision rial and immutable realm of the spirit. However, in addition ence to a dualistic vision of man, and an attempt to separate to this idealistic tendency, the culture of the fin-de-siècle the immaterial part, the soul or the spirit, from the material (1892) also contained a disintegrating penchant which found body.
    [Show full text]
  • Lyric Poetry and the Music of Words
    3 ᪏᪎ The Birth of Tragedy Lyric Poetry and the Music of Words he stylistic role of music in The Birth of Tragedy1 presupposes the Trelation Nietzsche had uncovered between “music and words” in his theory of meter and rhythm in ancient Greek.2 This is Nietzsche’s architectonically 3 quantitative, measured and timed, theory of words and music for his courses on rhythm and meter as well as his discussion of tragedy and music in his first book.4 A recollection of the meaning of the spirit of music also reviews the logical questions of metaphor and truth and invites a parallel with The Gay Science with regard to language and the alchemical art of love, likewise in terms of both music and science. This inquiry entails the purely philosophical questions of knowl- edge and truth yet the discussion to follow takes its point of departure from classical philology, reviewing what Nietzsche himself held to have been his most scientific “discovery” on the terms of his own discipline: a discovery never disputed by Nietzsche’s arch-critic, Ulrich von Wilamowitz-Möllendorff. Indeed, and although we have become ac- customed to view Nietzsche as the perfect embodiment of the academic outsider, his discovery is now taken as the standard in his field (so standard as to be received without fanfare or routine acknowledgment as such).5 What was that discovery? 37 38 Words in Blood, Like Flowers Music and Words: The Influence of Modern Culture I. On Modern Stress and the Language of Ancient Greece Nietzsche had argued against the accent-based or stressed theory of Greek prosody that was the “received view” in nineteenth-century philology.
    [Show full text]
  • Aristotle and the Value of Tragedy Malcolm Heath
    Aristotle and the Value of Tragedy Malcolm Heath This article explores Aristotle’s understanding of the value of tragedy. The primarily technical analyses of the Poetics are not sufficient for this purpose: they must be read in the context of Aristotle’s philosophical anthropology. An outline of Aristotle’s understanding of the structure of human motivation provides a framework within which to interpret his discussion of the uses of music, and in particular of music’s status as an intrinsically valuable component of cultivated Downloaded from leisure. Applying that model to tragedy requires an explanation of what motivates engagement with drama that evokes distressing affects. Aristotle’s account of musical katharsis, if read with sufficient attention to its structure and interpreted in the light of his analysis of pleasure, provides a solution. If the importance which Aristotle attaches to intrinsically valuable leisure activities is overlooked, it http://bjaesthetics.oxfordjournals.org/ is not possible to understand his conception of a good human life, or his aesthetics. What motivates human beings to invest time and effort in producing and consuming trag- edies? And how does that investment contribute to a characteristically human way of life? That is, what value attaches to the production and consumption of tragedies? Though Aristotle touches briefly on poetry’s roots in human nature at the beginning of Poetics 4, for the most part the existence of poetry and its diverse kinds is treated in the Poetics, not as an explanandum, but as the starting point for technical analyses of how poems, in their various kinds, are best composed.
    [Show full text]
  • Greek Theory of Tragedy: Aristotle's Poetics
    Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity.
    [Show full text]
  • Tragedy After Darwin by Manya Lempert a Dissertation Submitted In
    Tragedy after Darwin by Manya Lempert A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Dorothy Hale, Chair Professor Ann Banfield Professor Catherine Gallagher Professor Barry Stroud Summer 2015 Abstract Tragedy after Darwin by Manya Lempert Doctor of Philosophy in English University of California, Berkeley Professor Dorothy Hale, Chair Tragedy after Darwin is the first study to recognize novelistic tragedy as a sub-genre of British and European modernism. I argue that in response to secularizing science, authors across Europe revive the worldview of the ancient tragedians. Hardy, Woolf, Pessoa, Camus, and Beckett picture a Darwinian natural world that has taken the gods’ place as tragic antagonist. If Greek tragic drama communicated the amorality of the cosmos via its divinities and its plots, the novel does so via its characters’ confrontations with an atheistic nature alien to redemptive narrative. While the critical consensus is that Darwinism, secularization, and modernist fiction itself spell the “death of tragedy,” I understand these writers’ oft-cited rejection of teleological form and their aesthetics of the momentary to be responses to Darwinism and expressions of their tragic philosophy: characters’ short-lived moments of being stand in insoluble conflict with the expansive time of natural and cosmological history. The fiction in this study adopts an anti-Aristotelian view of tragedy, in which character is not fate; character is instead the victim, the casualty, of fate. And just as the Greek tragedians depict externally wrought necessity that is also divorced from mercy, from justice, from theodicy, Darwin’s natural selection adapts species to their environments, preserving and destroying organisms, with no conscious volition and no further end in mind – only because of chance differences among them.
    [Show full text]
  • History of Greek Theatre
    HISTORY OF GREEK THEATRE Several hundred years before the birth of Christ, a theatre flourished, which to you and I would seem strange, but, had it not been for this Grecian Theatre, we would not have our tradition-rich, living theatre today. The ancient Greek theatre marks the First Golden Age of Theatre. GREEK AMPHITHEATRE- carved from a hillside, and seating thousands, it faced a circle, called orchestra (acting area) marked out on the ground. In the center of the circle was an altar (thymele), on which a ritualistic goat was sacrificed (tragos- where the word tragedy comes from), signifying the start of the Dionysian festival. - across the circle from the audience was a changing house called a skene. From this comes our present day term, scene. This skene can also be used to represent a temple or home of a ruler. (sometime in the middle of the 5th century BC) DIONYSIAN FESTIVAL- (named after Dionysis, god of wine and fertility) This festival, held in the Spring, was a procession of singers and musicians performing a combination of worship and musical revue inside the circle. **Women were not allowed to act. Men played these parts wearing masks. **There was also no set scenery. A- In time, the tradition was refined as poets and other Greek states composed plays recounting the deeds of the gods or heroes. B- As the form and content of the drama became more elaborate, so did the physical theatre itself. 1- The skene grow in size- actors could change costumes and robes to assume new roles or indicate a change in the same character’s mood.
    [Show full text]
  • Dali Museum Vocabulary
    DALI MUSEUM VOCABULARY Abstract Art: Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered, and cubism, which blatantly alters the forms of the real life entities depicted. Dalí created this painting out of geometric shapes to become a double image. Anamorphic: When we talk about an anamorphic image, we are referring to an image that appears in his normal position only when viewed from some particular perspective (from the side) or when viewed through some transforming optical device such as a mirror. Dalí liked to play with the viewer so he used some anamorphic images. One of his most famous anamorphic paintings is a distorted skull, but when reflected in a mirrored cylinder returns to its normal proportions. This kind of art is made on a polar grid, like maps of the globe. Anthropomorphic: Suggesting human characteristics for animals or inanimate things. Centaurs and Minotaurs are two good examples from mythology. Dalí loved combining different things to create something new. This Dalí sculpture is a person with drawers like a cabinet. Ants: Ants symbolize death and decay. A symbol of decay and decomposition. 1 Dalí met ants the first time as a child, watching the decomposed remains of small animals eaten by them.
    [Show full text]
  • The Tragic in Ancient Drama Reflected in the Tragic in Modern Drama 137
    EITHER/OR PART I by S0ren Kierkegaard Edited and Translated with Introduction and Notes by Howard V. Hong and EdnaH. Hong PRINCETON UNIVERSITY PRESS PRINCETON I NEW JERSEY Copyright © 1987 by HoU'ard V HOI/X PI/hlisllcd by PrillcctOll (jlliucrsit)' Press, 41 William Street, Pril1cefoll, Ncw Jcrscy 08540 III tile Ul1ited KlI1gdom: PrillcctofJ (hliversity Press, Chichester, H«'st Sll.lSeX Li/nary 4 Catalogillg-ill-Puillicatioll Data Kierkegaard, SorefJ Either/or. (Kierkcgaard's lI'rilillgs, J- ) Tral1slatioll ElltclI-dler. Biblioxraphy: p. Includcs iHdex. I. HO/lX, Howard Vifl[l'Ilt, 1912- .II Hong, Edna Hatlestad, 1913- Ill. Titlc. II/. Kicrkej!al1fd, S'lfCII, 1813-1855. IVilYks. 1978; J. cfl. PT8142.£57£5 1987 198·.9 86-25516 ISBN 0-691-07315-5 (v. 1. olk. p"l'er) ISBN 0-691-02041-8 (v. 1 : pH.) ISBN-13: 978-0-691-02041-9 ISBN-IO: 0-691-02041-8 Preparation this volume has been made possible l!1 part by a J?rallt from the Dillisioll of RescarciJ Proxral1ls the National Elldoll'111ellt for the HlIlntlllitics, all il/depcndent jdcral Princeton Univcrsity Press books arc printcd 011 paper and meet the guidelines for permancn(e alld tIll' Committee MI Produrtioll Guidelil1cs for Book LOllgcFity 4 the COlll/(il Oil Lilnary Resollw's b}' Fral1k Mahood Prilltcd il1 the [fllitcd States Amcri((l htlp://pup.princeton.edu CONTENTS HISTORICAL INTRODUCTION Vll Either/Or, Part I 1 PREFACE 3 DIAPSALMATA 17 THE IMMEDIATE EROTIC STAGES OR THE MUSICAL-EROTIC 45 THE TRAGIC IN ANCIENT DRAMA REFLECTED IN THE TRAGIC IN MODERN DRAMA 137 SILHOUETTES 165 THE UNHAPPIEST
    [Show full text]
  • A Genre That Matters: Schopenhauer on the Ethical Significance of Tragedy
    1 A Genre that Matters: Schopenhauer on the Ethical Significance of Tragedy A work in progress Sandy Shapshay, Dept. of Philosophy, Indiana University When even the best of us hear Homer or some other tragedian imitating one of the heroes sorrowing and making a long lamenting speech or singing and beating his breast, you know that we enjoy it, give ourselves up to following it, sympathize with the hero, take his sufferings seriously, and praise as a good poet the one who affects us most in this way. Plato Republic 605cd. One of the most vital areas in contemporary aesthetics concerns the experience of so- called “negative” emotions in an engagement with fiction. One persistent puzzle since the time of Aristotle is the problem of tragedy: How is it that we take pleasure in the inherently unpleasant emotions of fear and pity experienced in a serious engagement with tragic drama? The problem in its Humean formulation is generated by three propositions that seem mutually inconsistent: 1. Many people do enjoy tragedies 2. Typically one experiences unpleasant emotions such as anxiety, sorrow, pity, and fear as part of one’s emotional response to tragedies. 3. Generally those same people who enjoy tragedies do not seek out or enjoy the experience painful emotions in real life (outside of the theater). The charge is that those who seek out and enjoy tragedies are acting irrationally. If people don’t welcome and enjoy scenes of terrible suffering in real life, then why would 2 they seek out those scenes and enjoy them in tragic drama? The paradoxical nature of tragic pleasure is heightened by the fact that the tremendous value attributed to tragedy as an art form seems to derive precisely from the suffering it evokes as well as from the serious and terrible events depicted.1 As is well known, Aristotle, Burke, Hume, Nietzsche (to name just a few of the historical heavy-hitters) and scores of contemporary aestheticians have recognized that the apparent pleasure people derive in the experience of tragedy calls for an explanation.
    [Show full text]
  • Introduction to Hegel's Theory of Tragedy
    Introduction to Hegel’s Theory of Tragedy MARK W. ROCHE Next to Aristotle’s account of tragedy, the theory of tragedy developed by the German philosopher G. W. F. Hegel (1770-1831) has become the most studied and quoted in the West. Tragedy arises, according to Hegel, when a hero courageously asserts a substantial and just position, but in doing so simultaneously violates a contrary and likewise just position and so falls prey to a one-sidedness that is defined at one and the same time by greatness and by guilt. Tragedy surfaces as a topic in Hegel’s Phenomenology of Mind and his Lectures on the Philosophy of History, arguably his two best known works in the Anglo-American world. In chapter five of the Phenomenology Hegel discusses character, ethical action, and guilt partly by way of an analysis of Sophocles’ Antigone. In his introduction to the Lectures on the Philosophy of History Hegel analyzes the world-historical individual who shapes history often beyond her conscious intentions; such figures emerge ahead of their time, come into conflict with their ages, and prepare a new world. In his Lectures on the History of Philosophy Hegel offers a fascinating portrait of Socrates in the light of this tragic dialectic. Also in his Lectures on the Philosophy of Religion Hegel touches on tragedy, especially in the Greek world and in relation to reconciliation. Tragedy is most prominent in Hegel’s Lectures on Aesthetics, which is one of his most accessible texts. The Aesthetics, which was compiled and edited by Hegel’s student Heinrich PhaenEx 1, no.
    [Show full text]