The Construction of Tragedy: Hubris

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Mary A. Mann, 2004 - 228 էջ

A beacon for the 21st century is an understanding of the Science of Being Altogether as practiced by the great tragic dramatists.

An integral part of the art form of tragedy is deemed to be the dramatists' adherence to the philosophy of the Science of Being Altogether where the artist becomes intuitive scientist in creating a microcosm of the universe itself. Six plays Antigone, Hamlet, King Lear, Murder in the Cathedral, A Man for All Seasons, The Condemned of Altona are analyzed in similar format

in HUBRIS, The Construction of Tragedy.

Societies and forms of government may vary but humanity itself does not change significantly. Antigone, Hamlet and Albany in King Lear are deeply aware of mortals' cosmic connection and the responsibilities resultant from it.

Hubris in human activity such as domination, exemplified by Creon in Antigone, and martyrdom extolled by More in A Man for All Seasons and Thomas in Murder in the Cathedral can be understood to be scientifically untenable and destined to be chastened or broken by the universal life force. The Condemned of Altona addresses the 20th century disconnect of human morality from cosmic harmony.

At the end of each play's analysis, a section is devoted to its contemporary relevance. Contemporary issues as fear of dialogue, domination , martyrdom, religious fervor and ideological hatred, and the slide into hopelessness all fit into patterns of human behavior that are explored in tragedy.

From inside the book


The Metaphysics of Tragic Construction
The elements of the universe corresponding
The function of tragedy
constructed tragedy
Characterits ethical nature
The consideration of the audience in determining the plays magnitude
The function of language
The aftermath of tragedy
The cosmic imbalance caused by murder and its mortal
The political structure of Denmark and the art
King Lear
The ethicality of Albanys contribution to the highest
Political awareness in Albany and Cordelia Kent and
The art of personal survival in postLear Britain Edgar
Murder In The Cathedral
The mystic circle The relationship of the priests

which the play is prepared
The state of affairs in the play
The plot Its relationship to a universal truth The meaning of fidelity of correspondence through all dimensions from innerpersonal to cosmic
The energy drive of honor due to the dead as motivated by Antigone in her heightened role as sibling
The role of Teiresias seer and intermediary
The energy drive of Creons bid for power
The role of the chorus
The average mortal
The contemporary relevance of Antigone
The moment of choice for Thomas
The energy drive of More How it is affected by human
The role of the woman Her assigned importance
The natural paradigm for classical tragedy
The highest energy drive Economic growth and the will
From Franz to Hitler and back Dictatorial prevailing
The responsibility of the tragedian to portray tragic
Structuring the prepared material Deciding upon
The state of the art The importance of the study of
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Էջ 66 - Would have mourn'd longer— married with my uncle, My father's brother, but no more like my father Than I to Hercules : within a month : Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes, She married. O, most wicked speed, to post With such dexterity to incestuous sheets ! It is not nor it cannot come to good : But break, my heart ; for I must hold my tongue.
Էջ 68 - O Hamlet, speak no more : Thou turn'st mine eyes into my very soul ; And there I see such black and grained spots As will not leave their tinct.
Էջ 67 - What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness?
Էջ 68 - Come, come, and sit you down ; you shall not budge ; You go not till I set you up a glass Where you may see the inmost part of you.
Էջ 67 - My father's spirit in arms ! all is not well ; I doubt some foul play: 'would, the night were come! Till then sit still, my soul : Foul deeds will rise, Though all the earth o'erwhelm them, to men's eyes.
Էջ 66 - gainst self-slaughter! O God! O God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on't! O fie! 'tis an unweeded garden, That grows to seed; things rank and gross in nature Possess it merely.
Էջ 101 - This is the excellent foppery of the world, that, when we are sick in fortune, — often the surfeit of our own behaviour, — we make guilty of our disasters the sun, the moon, and the stars...
Էջ 76 - Why, look you now, how unworthy a thing you make of me! You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass: and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think, I am easier to be played on than a pipe...
Էջ 11 - The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular.

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