The Tragic Protestis, what has been said already says that no anticipations of aesthetic theory are in place here. When research stays on the level of primitive imagination, prior to the distinction between real and unreal, to merge art with life, it cannot serve as guideline for thoughts on what is distinctive within art. No canons of composition can be forthcoming, even the very concept of composition, implying a composer, must remain inadmissible; since, unlike the one of tragic art, the composer of tragic life will be here in question. No analysis of form need be expected, and when a form of vision is described, it will not be what artistic critics are used to dissect. Purely aesthetic instruments, such as plot, contrast, harmony, proper pitch, likene3s, recognition, com pleteness, will be of no use and no relevance at all. And it hardly need be mentioned that the age-fortified classification of artistic kinds remains strictly out of bounds. Here is perhaps the proper place to introduce a stylistic apology. I t is clear to everyone with a neat sense of seemliness in language that the use of unattached adjectives is very awkward in English. No one reading these paragraphs can be blamed for fidgeting when molested again and again with "the tragic" instead of "tragedy. " The excuse has perhaps transpired in the preceding passage. |
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Page 68
... hold with supernatural phenomena , would you proceed to murder on the ground of a nocturnal vision , or , for that matter , on the ground of an entirely natural but dubious information ? To sit and sift the substance of your evidence ...
... hold with supernatural phenomena , would you proceed to murder on the ground of a nocturnal vision , or , for that matter , on the ground of an entirely natural but dubious information ? To sit and sift the substance of your evidence ...
Page 251
... hold on his coming to be . What he finds and calls out in speech is then per - tinent to his way of per - vading time , his ethos . And although this is so often over - looked , the significance of speech , its signing , marking ...
... hold on his coming to be . What he finds and calls out in speech is then per - tinent to his way of per - vading time , his ethos . And although this is so often over - looked , the significance of speech , its signing , marking ...
Page 260
... hold and withdrawal , of protest for and against . Listen again to some words of the tragic men , listen for their quest ap - propriating both affirmation and rejection : Oedipus - " It wOULD be sweet to live beyond the reach of sorrow ...
... hold and withdrawal , of protest for and against . Listen again to some words of the tragic men , listen for their quest ap - propriating both affirmation and rejection : Oedipus - " It wOULD be sweet to live beyond the reach of sorrow ...
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Common terms and phrases
action Aegistheus Aeschylus alien answer approach appropriate Argives Argos Aristotle Athens awareness becomes belong Biff character choice choose chosen Christian claim common conscience Creon crowd curse daring dark death deed demand destiny determined discovery of freedom divine dramatic dreams earth empty entities evil exploration expression faith Faust fear feeling finite freedom future genuine grasp ground Hamlet happen horizon human existence hybris idea ill-being imagination individual Jocasta king knowledge Laius liberation light living Lord loss man's means men's Mephisto Mephistopheles mind mortal move nature negation never objective Oedipus Okeanos one's Orestes perhaps possible present prince prince Hamlet Promethean Prometheus proper properly quest question reality reflected regard remains responsibility root sense speak speech spirit stand striving temporal Thebes thing Thomas Stockmann thought Tiresias Titan tragedy tragic hero tragic protest truth universe vision whole Willy Loman words Zeus