The Construction of Tragedy: HubrisMary A. Mann, 2004 - 228 pages 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
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... prevailing of the highest energy drive comes a conclusion which may be called INEVITABLE . Thus INEVITABILITY consists of the prevailing together with a final state 3 The Construction of Tragedy Introduction Definition of terms.
... inevitability or INEVITABILITY used in this recognitional sense only , means the prevailing plus conclusion . The UNIFIER moves toward and becomes part of INEVITABILITY . To APPREHEND or APPREHENSION implies a glimpsing of the nature of ...
... INEVITABILITY , is apprehended today . The MODE OF OPERATION of the universe recognitionally is a mortal approximation of what the unifier of the universe might be in a manner which might be scientifically repeatable . Gradations of ...
... inevitability of the mode of operation of the universe . Toward this end the universe is considered as a work of art , the only work of art characterized by the co- instanteity of the plan with the execution , forever changing yet ...
... Inevitability in the mode of operation of the universe follows the moving unifier that incorporates all the diverse elements into this whole which is greater than the sum of its parts , and from which no element may be dislodged without ...
Contents
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10 | |
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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 |
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 |
Antigone | 31 |
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 Teiresias 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 |