The Construction of Tragedy: Hubris

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Mary A. Mann, 2004 - 228 pages
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This book contains a true story of a woman who, from childhood, learned the value of money, hustled, and went into adulthood through an abundance of trials, tribulations, and even a tragedy to have money. Only to discover that the path she chose to get what she wanted was a path of destruction and trouble, with high stakes and everything to lose, including her life.

An action-packed novel that is educational, provocative, and inspirational, offering knowledge to all its readers.

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Contents

The Metaphysics of Tragic Construction
1
The function of tragedy
11
constructed tragedy
23
Characterits ethical nature
25
The consideration of the audience in determining the plays magnitude
26
The function of language
28
The aftermath of tragedy
29
Antigone
31
The cosmic imbalance caused by murder and its mortal
63
The political structure of Denmark and the art
71
King Lear
79
The ethicality of Albanys contribution to the highest
86
Political awareness in Albany and Cordelia Kent and
93
The art of personal survival in postLear Britain Edgar
102
Murder In The Cathedral
109
The mystic circle The relationship of the priests
116

which the play is prepared
33
The state of affairs in the play
34
The plot Its relationship to a universal truth The meaning of fidelity of correspondence through all dimensions from innerpersonal to cosmic
35
The energy drive of honor due to the dead as motivated by Antigone in her heightened role as sibling
37
The role of Teireslas seer and intermediary
43
The energy drive of Creons bid for power
45
The role of the chorus
48
The average mortal
49
The contemporary relevance of Antigone
50
Hamlet
55
The moment of choice for Thomas
122
The energy drive of More How it is affected by human
134
The role of the woman Her assigned importance
140
The natural paradigm for classical tragedy
147
The highest energy drive Economic growth and the will
153
From Franz to Hitler and back Dictatorial prevailing
162
The responsibility of the tragedian to portray tragic
170
Structuring the prepared material Deciding upon
178
The state of the art The importance of the study of
184
Copyright

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Page 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.
Page 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.
Page 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?
Page 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.
Page 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.
Page 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.
Page 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...
Page 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...
Page 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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