Tragedy - Knowledge (XXG)

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other hand, stand in a wealth of more accidental circumstances, within which one could act this way or that, so that the conflict is, though occasioned by external preconditions, still essentially grounded in the character. The new individuals, in their passions, obey their own nature... simply because they are what they are. Greek heroes also act in accordance with individuality, but in ancient tragedy such individuality is necessarily... a self-contained ethical pathos... In modern tragedy, however, the character in its peculiarity decides in accordance with subjective desires... such that congruity of character with outward ethical aim no longer constitutes an essential basis of tragic beauty...

2805:(1961) George Steiner outlined the characteristics of Greek tragedy and the traditions that developed from that period. In the Foreword (1980) to a new edition of his book Steiner concluded that 'the dramas of Shakespeare are not a renascence of or a humanistic variant of the absolute tragic model. They are, rather, a rejection of this model in the light of tragi-comic and "realistic" criteria.' In part, this feature of Shakespeare's mind is explained by his bent of mind or imagination which was 'so encompassing, so receptive to the plurality of diverse orders of experience.' When compared to the drama of Greek antiquity and French classicism Shakespeare's forms are 'richer but hybrid'. 2724:

circumstances, will from small beginnings brood within the breast, till all the better dispositions, all the fair gifts of nature are borne down before them'. This theory, she put into practice in her 'Series of Plays on the Passions' in three volumes (commencing in 1798) and in other dramatic works. Her method was to create a series of scenes and incidents intended to capture the audience's inquisitiveness and 'trace the progress of the passion, pointing out those stages in the approach of the enemy, when he might have been combated most successfully; and where the suffering him to pass may be considered as occasioning all the misery that ensues.'

2607: 1000: 3090:" argues for a more complicated theory of tragedy, with two complementary branches which, though driven by a single dialectical principle, differentiate Greek tragedy from that which follows Shakespeare. His later lectures formulate such a theory of tragedy as a conflict of ethical forces, represented by characters, in ancient Greek tragedy, but in Shakespearean tragedy the conflict is rendered as one of subject and object, of individual personality which must manifest self-destructive passions because only such passions are strong enough to defend the individual from a hostile and capricious external world: 51: 1556: 1020: 844: 1435: 960: 7153: 7193: 7173: 976: 7183: 3017:. By this definition social drama cannot be tragic because the hero in it is a victim of circumstance and incidents that depend upon the society in which he lives and not upon the inner compulsions—psychological or religious—which determine his progress towards self-knowledge and death. Exactly what constitutes a "tragedy", however, is a frequently debated matter. 3112: 7163: 2694:'s love for her stepson) and his impact was such that emotional crisis would be the dominant mode of tragedy to the end of the century. Racine's two late plays ("Esther" and "Athalie") opened new doors to biblical subject matter and to the use of theatre in the education of young women. Racine also faced criticism for his irregularities: when his play, 2970:-thrower missing his target). According to Aristotle, "The misfortune is brought about not by vice or depravity, but by some error or frailty." The reversal is the inevitable but unforeseen result of some action taken by the hero. It is also a misconception that this reversal can be brought about by a higher power (e.g. the law, the gods, 6404: 1848:, one of the most dramatic episodes in Portuguese history. Although these three Italian plays are often cited, separately or together, as being the first regular tragedies in modern times, as well as the earliest substantial works to be written in blank hendecasyllables, they were apparently preceded by two other works in the vernacular: 1456:

Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the theatrical culture of the city-state. Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE (from the end of which it began to spread throughout the

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The heroes of ancient classical tragedy encounter situations in which, if they firmly decide in favor of the one ethical pathos that alone suits their finished character, they must necessarily come into conflict with the equally justified ethical power that confronts them. Modern characters, on the

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Tragedy is an imitation of an action that is admirable, complete (composed of an introduction, a middle part and an ending), and possesses magnitude; in language made pleasurable, each of its species separated in different parts; performed by actors, not through narration; effecting through pity and

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and poets translating and adapting their tragedies. In the 1540s, the European university setting (and especially, from 1553 on, the Jesuit colleges) became host to a Neo-Latin theatre (in Latin) written by scholars. The influence of Seneca was particularly strong in its humanist tragedy. His plays,

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of Aeschylus. The Greek theatre was in the open air, on the side of a hill, and performances of a trilogy and satyr play probably lasted most of the day. Performances were apparently open to all citizens, including women, but evidence is scant. The theatre of Dionysus at Athens probably held around

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Athenian tragedies were performed in late March/early April at an annual state religious festival in honor of Dionysus. The presentations took the form of a contest between three playwrights, who presented their works on three successive days. Each playwright offered a tetralogy consisting of three

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refers to "the ancient Greeks and Romans (who in the opinion of many sang their staged tragedies throughout in representing them on stage)." The attempts of Peri and his contemporaries to recreate ancient tragedy gave rise to the new Italian musical genre of opera. In France, tragic operatic works

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had argued that tragedy should concern only great individuals with great minds and souls, because their catastrophic downfall would be more emotionally powerful to the audience; only comedy should depict middle-class people. Domestic tragedy breaks with Aristotle's precepts, taking as its subjects

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Anyway, arising from an improvisatory beginning (both tragedy and comedy—tragedy from the leaders of the dithyramb, and comedy from the leaders of the phallic processions which even now continue as a custom in many of our cities), grew little by little, as developed whatever of it had appeared;

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as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed

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The advent of the domestic tragedy ushered in the first phase shift of the genre focusing less on the Aristotelian definition of the genre and more on the definition of tragedy on the scale of the drama, where tragedy is opposed to comedy i.e. melancholic stories. Although the utilization of key

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the ordering of the world. Substantive critics "are interested in the constituent elements of art, rather than its ontological sources". He recognizes four subclasses: a. "definition by formal elements" (for instance the supposed "three unities"); b. "definition by situation" (where one defines

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wanted to revolutionise theatre, believing that it could be used more effectively to affect people's lives. To this end she gave a new direction to tragedy, which she as 'the unveiling of the human mind under the dominion of those strong and fixed passions, which seemingly unprovoked by outward

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Seneca's tragedies rework those of all three of the Athenian tragic playwrights whose work has survived. Probably meant to be recited at elite gatherings, they differ from the Greek versions in their long declamatory, narrative accounts of action, their obtrusive moralising, and their bombastic

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There is abundant evidence for tragoidia understood as "song for the prize goat". The best-known evidence is Horace, Ars poetica 220-24 ("he who with a tragic song competed for a mere goat"); the earliest is the Parian Marble, a chronicle inscribed about 264/63 BCE, which records, under a date

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Hegel's comments on a particular play may better elucidate his theory: "Viewed externally, Hamlet's death may be seen to have been brought about accidentally... but in Hamlet's soul, we understand that death has lurked from the beginning: the sandbank of finitude cannot suffice his sorrow and

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The stage—in both comedy and tragedy—should feature noble characters (this would eliminate many low-characters, typical of the farce, from Corneille's comedies). Noble characters should not be depicted as vile (reprehensible actions are generally due to non-noble characters in Corneille's

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tragedy for instance as "exhibiting the fall of a good man"); c. "definition by ethical direction" (where the critic is concerned with the meaning, with the "intellectual and moral effect); and d. "definition by emotional effect" (and he cites Aristotle's "requirement of pity and fear").

2686:—condensed their plot into a tight set of passionate and duty-bound conflicts between a small group of noble characters, and concentrated on these characters' double-binds and the geometry of their unfulfilled desires and hatreds. Racine's poetic skill was in the representation of 1511:

danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang. Choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song").

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elements such as suffering, hamartia, morality, and spectacle ultimately ties this variety of tragedy to all the rest. This variant of tragedy has led to the evolution and development of tragedies of the modern era especially those past the mid-1800s such as the works of

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between 538 and 528 BCE: "Thespis is the poet ... first produced ... and as prize was established the billy goat" (FrGHist 239A, epoch 43); the clearest is Eustathius 1769.45: "They called those competing tragedians, clearly because of the song over the billy goat"...

3323:, that phenomenon whereby pain awakens pleasure while rejoicing wrings cries of agony from the breast. From highest joy there comes a cry of horror or a yearning lament at some irredeemable loss. In those Greek festivals there erupts what one might call a 4402:

The characters aren't meant to be real. But it's also devastating when the novel central tragedy strikes – that all too real feeling of an unjust world that takes away as easily as it gives, and of people trying as hard as they can to be happy despite

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Corneille continued to write plays through 1674 (mainly tragedies, but also something he called "heroic comedies") and many continued to be successes, although the "irregularities" of his theatrical methods were increasingly criticised (notably by

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Tragedy is, then, an enactment of a deed that is important and complete, and of magnitude, by means of language enriched , each used separately in the different parts : it is enacted, not recited, and through pity and fear it effects relief

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way, in which the tragedy is thought to be an expression of an ordering of the world; "instead of asking what tragedy expresses, the derivative definition tends to ask what expresses itself through tragedy". The second is the

1585:(27 BCE-476 CE), theatre spread west across Europe, around the Mediterranean and even reached Britain. While Greek tragedy continued to be performed throughout the Roman period, the year 240 BCE marks the beginning of regular 2985:—"knowing again" or "knowing back" or "knowing throughout") about human fate, destiny, and the will of the gods. Aristotle terms this sort of recognition "a change from ignorance to awareness of a bond of love or hate." 3776:. If not attaining the quality and stature of the fifth-century 'classics', original tragedies nonetheless continued to be written and produced and competed with in large numbers throughout the remaining life of the 3213:—is a 4th-century play by an unknown author; modern scholarship agrees with the classical authorities and ascribes the play to Euripides. This uncertainty accounts for Brockett and Hildy's figure of 31 tragedies. 1742:. It was the first secular tragedy written since Roman times, and may be considered the first Italian tragedy identifiable as a Renaissance work. The earliest tragedies to employ purely classical themes are the 1601:

also began to write tragedies (though he was more appreciated for his comedies). No complete early Roman tragedy survives, though it was highly regarded in its day; historians know of three other early tragic

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are used in tragedies and other forms to this day, as writers still find it a useful and often powerful device for showing the consequences of extreme human actions. Another such device was a crane, the

4516: 3517: 2659:(purgation of emotion) should be the goal of tragedy, this is only an ideal. In conformity with the moral codes of the period, plays should not show evil being rewarded or nobility being degraded. 2782:, the definition of tragedy has become less precise. The most fundamental change has been the rejection of Aristotle's dictum that true tragedy can only depict those with power and high status. 4170: 7622: 4656: 4594: 4633: 2640:

was even listed as a tragicomedy), for they had happy endings. In his theoretical works on theatre, Corneille redefined both comedy and tragedy around the following suppositions:

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There is some dissent to the dithyrambic origins of tragedy, mostly based on the differences between the shapes of their choruses and styles of dancing. A common descent from pre-

6253: 7229: 2786:'s essay "Tragedy and the Common Man" (1949) argues that tragedy may also depict ordinary people in domestic surroundings thus defining Domestic tragedies. British playwright 4555: 3100:

tenderness, such grief and nausea at all conditions of life... we feel he is a man whom inner disgust has almost consumed well before death comes upon him from outside."

3242: 1241:, respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation. 3772:"as the nonpareils of the genre, and regularly honored their plays with revivals, tragedy itself was not merely a 5th-century phenomenon, the product of a short-lived 2247: 1507:) and some of the actors' answers to the chorus were sung as well. The play as a whole was composed in various verse metres. All actors were male and wore masks. A 4485: 4389: 4416: 4455: 2665: 1963: 1900:

with their ghosts, lyrical passages and rhetorical oratory, brought a concentration on rhetoric and language over dramatic action to many humanist tragedies.

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visually, but an action of which the other characters must see the effects for it to have meaning and emotional resonance. A prime example of the use of the

2588:("integrated work of art"), for example, was intended as a return to the ideal of Greek tragedy in which all the arts were blended in service of the drama. 7657: 2172: 2937:(emotional cleansing) or healing for the audience through their experience of these emotions in response to the suffering of the characters in the drama. 7664: 5416: 3207:, a satyr play by Euripides. Some critics since the 17th century have argued that one of the tragedies that the classical tradition gives as Euripides'— 1461:. No tragedies from the 6th century and only 32 of the more than a thousand that were performed in the 5th century have survived. We have complete texts 4840: 2434:

Domestic tragedies are tragedies in which the tragic protagonists are ordinary middle-class or working-class individuals. This subgenre contrasts with

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Tragedy deals with affairs of the state (wars, dynastic marriages); comedy deals with love. For a work to be tragic, it need not have a tragic ending.

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reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of

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and its ideals. It is characterised by the fact that its protagonists are ordinary citizens. The first true bourgeois tragedy was an English play,

6441: 2474:. Newly dealt with themes that sprang forth from the Domestic tragedy movement include: wrongful convictions and executions, poverty, starvation, 2267:: people are born into their situations, and do not choose them; such tragedies explore the consequences of birthrights, particularly for monarchs 1711:. In Italy, the models for tragedy in the later Middle Ages were Roman, particularly the works of Seneca, interest in which was reawakened by the 5411: 3588: 2387: 988: 5425: 4355: 7747: 6635: 5304: 5168: 5101: 5070: 5038: 4996: 4977: 4164: 3600: 2708: 1844:, written around 1550 (but only published in 1587) in polymetric verse (most of it being blank hendecasyllables), dealing with the murder of 4368:

His great novel, "L'Écume des jours" ("Foam of the Daze"), is a tragedy of young love in which a woman dies of the lily growing in her lung.

5465: 2240: 1931:, etc., from the Bible, from contemporary events and from short story collections (Italian, French and Spanish). The Greek tragic authors ( 872: 2801:

have even been prepared to argue that tragedy may no longer exist in comparison with its former manifestations in classical antiquity. In

4578: 1186:(335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general (where the tragic divides against 7215: 4617: 622: 2940:

According to Aristotle, "the structure of the best tragedy should not be simple but complex and one that represents incidents arousing

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Defining tragedy is no simple matter, and there are many definitions, some of which are incompatible with each other. Oscar Mandel, in

7733: 2606: 1547:" ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event. 6509: 5372: 5350: 5323: 5259: 5237: 5218: 5141: 5015: 4955: 4931: 4909: 4874: 4666: 4627: 4588: 4549: 3855: 3830: 3666: 3637: 3468: 2021: 4539: 1543:, which served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase " 7726: 7671: 2636:(1636), was the most successful writer of French tragedies. Corneille's tragedies were strangely un-tragic (his first version of 1792:

princess who drank poison to avoid being taken by the Romans, it adheres closely to classical rules. It was soon followed by the

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Bourgeois tragedy (German: Bürgerliches Trauerspiel) is a form that developed in 18th-century Europe. It was a fruit of the

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A Series of Plays in which it is attempted to delineate The Stranger Passions of the Mind, Volume 1: Introductory Discourse

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Contemporary with Shakespeare, an entirely different approach to facilitating the rebirth of tragedy was taken in Italy.

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Classical Greek drama was largely forgotten in Western Europe from the Middle Ages to the beginning of the 16th century.

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is recognized to be the earliest extant Greek tragedy, and as such it is doubly unique among the extant ancient dramas.

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From the time of the empire, the tragedies of two playwrights survive—one is an unknown author, while the other is the

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and history, also applied such a methodology to his theory of tragedy. In his essay "Hegel's Theory of Tragedy,"

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The word "tragedy" appears to have been used to describe different phenomena at different times. It derives from

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Character, a tragedy of moral or ethical character. Tragedies of this nature can be found in Phthiotides and

1491:. The four plays sometimes featured linked stories. Only one complete trilogy of tragedies has survived, the 7520: 7380: 7324: 6678: 6539: 6450: 6333: 6283: 5837: 5707: 5269: 3825:. Methuen Classical Greek Dramatists. J. Michael Walton, introduction. London: Methuen. pp. viii, xix. 3130: 1586: 802: 773: 768: 233: 2862:(1961), contrasted two essentially different means of arriving at a definition. First is what he calls the 1865: 1555: 1280:"ode"). Scholars suspect this may be traced to a time when a goat was either the prize in a competition of 7650: 7550: 6797: 6427: 6263: 6213: 5970: 5672: 5538: 3720:, p. 104: "most scholars now call 'Greek' tragedy 'Athenian' tragedy, which is historically correct". 3180: 2846: 2822: 2790:

has argued strenuously for the rebirth of tragedy in the contemporary theatre, most notably in his volume

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We have seven by Aeschylus, seven by Sophocles, and eighteen by Euripides. In addition, we also have the

2948:—for that is peculiar to this form of art." This reversal of fortune must be caused by the tragic hero's 2808:

Numerous books and plays continue to be written in the tradition of tragedy to this day examples include

2794:. "You emerge from tragedy equipped against lies. After the musical, you're anybody's fool," he insists. 7788: 7286: 7052: 7037: 6943: 6903: 6502: 6391: 5965: 5918: 5827: 5652: 5625: 5599: 5533: 4836: 2810: 2538: 1989: 1769: 1735: 778: 743: 727: 698: 203: 6550: 5940: 2899:

that tragedy is characterised by seriousness and involves a great person who experiences a reversal of

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Suffering, tragedies of such nature can be seen in the Greek mythological stories of Ajaxes and Ixions

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is regarded as a distinct musical genre. Some later operatic composers have also shared Peri's aims:

2409: 2371: 2322: 2301: 2218: 2203: 2016: 1920: 1534:, when the king's butchered body is wheeled out in a grand display for all to see. Variations on the 1405: 1218: 1150: 1076: 513: 385: 5435: 1747: 7798: 7692: 7685: 7629: 7615: 7505: 7166: 7092: 7062: 7042: 6953: 6898: 6837: 6807: 6396: 6363: 6338: 6173: 6126: 6121: 5935: 5892: 5882: 5852: 5832: 5717: 5569: 5523: 5518: 5513: 5508: 5451: 5203: 4867:

Poetics with Tractatus Coislinianus, Reconstruction of Poetics II and the Fragments of the On Poets

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and, passing through many changes, tragedy came to a halt, since it had attained its own nature.

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Introduction to the Literature of Europe in the Fifteenth, Sixteenth, and Seventeenth Centuries

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Chondros, Thomas G.; Milidonis, Kypros; Vitzilaios, George; Vaitsis, John (1 September 2013).

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This article is about the genre of drama based on human suffering. For the loss of life, see

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the articles categorised under "Ancient Roman dramatists and playwrights" in Knowledge (XXG)

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The most important sources for French tragic theatre in the Renaissance were the example of

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In the same work, Aristotle attempts to provide a scholastic definition of what tragedy is:

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of drama that has played a unique and important role historically in the self-definition of

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or cast of characters. Traditionally, the intention of tragedy is to invoke an accompanying

758: 504: 462: 365: 174: 2668:) and the success of Jean Racine from the late 1660s signalled the end of his preeminence. 7082: 6979: 6918: 6822: 6792: 6749: 6663: 5757: 5697: 5574: 5407: 4946: 4941: 3140: 3006: 2584: 2557: 2416: 2357: 2293: 1948: 1833: 1762: 1671: 1625: 1607: 1568: 1544: 1315: 1162: 945: 933: 832: 789: 533: 390: 380: 114: 58: 20: 5232:. European Studies in English Literature. Halliday, John trans. Cambridge: Cambridge UP. 4041: 3912: 3070:

first introduced the English-speaking world to Hegel's theory, which Bradley called the "

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Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present

4015: 2598:(1872) was to support Wagner in his claims to be a successor of the ancient dramatists. 1804:(1475–1525). Both were completed by early 1516 and are based on classical Greek models, 1666:

rhetoric. They dwell on detailed accounts of horrible deeds and contain long reflective

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The emptiness of Asia : Aeschylus' 'Persians' and the history of the fifth century

3324: 3316:, p. 21, §2: 'two-fold mood the strange mixture and duality in the effects of the 3203: 3159: 3117: 2955: 2798: 2737: 2720: 2696: 2579: 1658: 1603: 1598: 1574: 1443: 1396: 1226: 1195: 1174: 1099: 992: 959: 889: 753: 657: 472: 395: 284: 191: 1577:(509–27 BCE) into several Greek territories between 270 and 240 BCE, Rome encountered 7767: 7360: 7304: 7273: 7118: 6571: 6373: 6163: 6022: 5945: 5887: 5802: 5782: 5642: 5594: 5187: 4965: 4919: 4696: 4320: 3818: 3332: 3209: 3166: 2993: 2915: 2787: 2783: 2463: 2450: 2439: 2099: 1810: 1715: 1700: 1611: 1451: 1340: 1170: 1158: 1138: 1110: 1029: 827: 667: 627: 375: 350: 335: 274: 3281: 7482: 7475: 7355: 7297: 7072: 7004: 6994: 6928: 6827: 6782: 6703: 5977: 5842: 5722: 5702: 5554: 4417:"REVIEW: 'The Road' Is A Gripping Prepper Novel Full Of Tragedy, Struggle And Hope" 3653:

Cartledge, Paul (1997). "'Deep Plays': Theatre as Process in Greek Civic Life". In

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began to write Roman tragedies, thus creating some of the first important works of

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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

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Common usage of tragedy refers to any story with a sad ending, whereas to be an

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way of defining tragedy, which starts with the work of art which is assumed to

1055:, as well as many fragments from other poets, and the later Roman tragedies of 975: 7500: 7345: 7266: 7259: 6764: 6566: 6419: 6116: 6094: 5987: 5772: 5732: 5692: 5559: 5474: 3125: 3107: 3048: 2910: 2905: 2719:

Towards the close of the eighteenth century, having studied her predecessors,

2479: 2308: 1785: 1777: 1488: 1299:

of Naucratis (2nd–3rd century CE) says that the original form of the word was

1134: 1009: 679: 601: 457: 435: 77: 42: 7207: 4304: 3920: 3610: 7113: 7027: 6938: 6787: 6613: 6596: 6027: 5997: 5792: 5737: 5657: 5589: 5392: 5333: 5247: 5151: 3769: 3765: 3761: 3328: 3229: 3010: 2934: 2890: 2679: 2675: 2656: 2652: 2589: 2475: 2458:

merchants or citizens whose lives have less consequence in the wider world.

2454: 2446:

rank and their downfall is an affair of state as well as a personal matter.

2329: 1972: 1936: 1932: 1912: 1880: 1872: 1815: 1667: 1639: 1517: 1474: 1470: 1466: 1414: 1382: 1347: 1326: 1296: 1203: 1199: 1122: 1103: 1088: 1052: 1048: 1044: 1033: 917: 909: 822: 219: 124: 82: 2691: 1871:

From about 1500 printed copies, in the original languages, of the works of

1678:(1484–1558), who knew both Latin and Greek, preferred Seneca to Euripides. 1329:

provides the earliest surviving explanation for the origin of the dramatic

7176: 5132:

Kovacs, David (2005). "Text and Transmission". In Gregory, Justina (ed.).

4296: 7370: 7318: 7047: 6908: 6328: 6062: 6012: 5992: 5857: 3317: 3025: 2981:

In addition, the tragic hero may achieve some revelation or recognition (

2975: 2950: 2816: 2499: 2094: 1924: 1896: 1789: 1618: 1493: 1439: 1355: 1330: 1311:(song), because those events were first introduced during grape harvest. 1130: 1043:

2500 years ago, from which there survives only a fraction of the work of

712: 652: 442: 87: 67: 5273: 4312: 4279: 3632:(Revised ed.). Cambridge: Cambridge University Press. p. 441. 1955:, many of whose works were translated and adapted for the French stage. 7385: 7329: 7291: 6518: 6471: 6466: 6089: 6047: 6032: 6002: 5564: 4658:

Remaking the Classics: Literature, Genre and Media in Britain 1800–2000

4509:"BWW Review: Cadence Theatre's RABBIT HOLE Examines Life After Tragedy" 2971: 2963: 2343: 2336: 2288:

In English, the most famous and most successful tragedies are those of

1892: 1888: 1751: 1540: 1095: 921: 561: 447: 430: 311: 279: 264: 249: 107: 4267:(Oxford University Press, 1980; Yale University Press, 1996), p. xiii. 3111: 7400: 7365: 6693: 6688: 6668: 6074: 6052: 5982: 5960: 5123:(1927). "Vorlesungen uber die Asthetik". In Glockner, Hermann (ed.). 3555: 3553: 3484: 3078:" and his or her "hamartia" in subsequent analyses of the Aeschylus' 3062:, the German philosopher most famous for his dialectical approach to 3044: 3038: 2958:, or as a mistake (since the original Greek etymology traces back to 2687: 2315: 1908: 1759: 1739: 1457:

Greek world), and continued to be popular until the beginning of the

1289: 1259: 674: 647: 596: 591: 566: 551: 164: 136: 97: 3897:""Deus-Ex-Machina" reconstruction in the Athens theater of Dionysus" 3043:

Spectacle, that of a horror-like theme. Examples of this nature are

4619:

Margaret Atwood's Textual Assassinations: Recent Poetry and Fiction

7375: 7350: 7238: 6683: 6653: 5847: 3173: 2967: 2491: 1962: 1712: 1704: 1503: 1433: 1410: 1215: 1118: 1018: 998: 974: 958: 905: 571: 556: 452: 229: 181: 152: 72: 3232:

adds a fourth, anonymous playwright to those whose work survives.

7390: 6068: 6042: 5111:

Headington, Christopher; Westbrook, Roy; Barfoot, Terry (1991).

2945: 2941: 2930: 2926: 2900: 1781: 1351: 576: 102: 7211: 6491: 6423: 5447: 5299:. Introductions to the Classical World. Malden, MA: Blackwell. 4580:

Christ the Tragedy of God: A Theological Exploration of Tragedy

3267:

A Comprehensive Etymological Dictionary of the English Language

2766:, which was first produced in 1755, is said to be the earliest 2703:

For more on French tragedy of the 16th and 17th centuries, see

6037: 5402: 5254:. Theatre Production Studies. London and New York: Routledge. 3986: 3984: 3959: 3957: 3932: 3930: 3788: 3786: 3499: 3497: 1501:

All of the choral parts were sung (to the accompaniment of an

1276: 586: 5443: 3491:, II, 3, 220: "Carmino qui tragico vilem certavit ob hircum". 1253: 893: 3379: 3377: 2628:, who made his mark on the world of tragedy with plays like 1923:), although plots were taken from classical authors such as 1194:) or at the scale of the drama (where tragedy is opposed to 912:

and, mainly, the terrible or sorrowful events that befall a

5080:

Goldhill, Simon (2 October 1997). Easterling, P. E. (ed.).

3074:", and contrasted against the Aristotelian notions of the " 3020:

According to Aristotle, there are four species of tragedy:

2913:

can include a change of fortune from bad to good as in the

1581:. From the later years of the republic and by means of the 1177:—have analysed, speculated upon, and criticised the genre. 6487: 5088:(1 ed.). Cambridge University Press. pp. 54–68. 4856:——— (1974). "Poetics". In Dukore (ed.). 4191: 4124: 3241:

For more information on the ancient Roman dramatists, see

1403:

discussed the origins of Greek tragedy in his early book

3570: 3568: 3327:

tendency in nature, as if it had cause to sigh over its

3297: 3295: 1895:, were available in Europe and the next forty years saw 2756:

The London Merchant; or, the History of George Barnwell

4987:

Brockett, Oscar Gross; Hildy, Franklin Joseph (2003).

4926:(3rd ed.). London: John Calder (published 1997). 4382:"Books in Review: Froth on the Daydream by Boris Vian" 3430: 3428: 2382:, also wrote examples of tragedy in English, notably: 6254:

The Work of Art in the Age of Mechanical Reproduction

2919:, but he says that the change from good to bad as in 2404:(1580?–1635?), also wrote famous plays of the genre: 1339:, in which he argues that tragedy developed from the 1059:; through its singular articulations in the works of 5010:(expanded ed.). Ithaca and London: Cornell UP. 4869:. Translated by Janko, Richard. Cambridge: Hackett. 2442:

tragedy, in which the protagonists are of kingly or

7716: 7567: 7519: 7467: 7447: 7416: 7409: 7338: 7246: 7131: 7101: 7003: 6962: 6891: 6860: 6851: 6763: 6712: 6646: 6525: 6306: 6155: 5928: 5635: 5547: 5481: 4950:. Osborne, John trans. London and New York: Verso. 4478:"Young boy's death drives tragedy of 'Rabbit Hole'" 5190:(27 February 1949). "Tragedy and the Common Man". 5058: 5050:Dramatic Theory and Criticism: Greeks to Grotowski 4897: 4858:Dramatic Theory and Criticism: Greeks to Grotowski 4695: 4278: 4138: 3595:. Hoboken, NJ: John Wiley & Sons. p. 29. 1836:. Another of the first of all modern tragedies is 1202:era, tragedy has also been defined against drama, 5161:A Short Introduction to the Ancient Greek Theater 4348:"'The Dead All Have the Same Skin' by Boris Vian" 2296:contemporaries. Shakespeare's tragedies include: 5206:(1999) . Geuss, Raymond; Speirs, Ronald (eds.). 4702:. New York: New York University Press. pp. 4100:"Del Carrétto, Galeotto, dei marchesi di Savona" 3013:must fit the set of requirements as laid out by 1487:tragedies and a concluding comic piece called a 30:"Tragedian" redirects here. For other uses, see 3092: 2998: 2574:("tragedy in music") or some similar name; the 1780:that would later be called Italian. Drawn from 1422: 1399:fertility and burial rites has been suggested. 1378: 1360: 4071:. Vol. VIII (11th ed.). p. 503. 3589:"Tragedy and Religion: The Problem of Origins" 2758:, which was first performed in 1731. Usually, 1832:, they are in Italian and in blank (unrhymed) 1722:(1261–1329), also of Padua, in 1315 wrote the 1632:(tragedies adapted from Greek originals); his 7223: 6503: 6435: 5459: 5163:(rev ed.). University of Chicago Press. 4002: 3990: 3975: 3963: 3948: 3936: 3792: 3729: 3503: 2992:, Aristotle gave the following definition in 2277:'s error of judgement has tragic consequences 2241: 866: 8: 6184:The Literary Mind and the Carving of Dragons 4860:. Translated by Butcher, SH. pp. 31–55. 4622:. Ohio State University Press. p. 148. 2933:within the spectators. Tragedy results in a 1648:. Historians do not know who wrote the only 968:, the classic tragedy by English playwright 7658:Self-Portrait with Death Playing the Fiddle 3850:. London: Bloomsbury Academic. p. 13. 3269:. Vol. II L–Z. Elsevier. p. 1637. 1765:(1409–1464) which dates from 1428 to 1429. 1515:Many ancient Greek tragedians employed the 7665:Skull of a Skeleton with Burning Cigarette 7413: 7230: 7216: 7208: 6857: 6510: 6496: 6488: 6442: 6428: 6420: 5466: 5452: 5444: 5417:Oxford Research Encyclopedia of Literature 5316:Drama : a guide to the study of plays 4733:. Princeton University Press. p. 178. 3086:. Hegel himself, however, in his seminal " 2248: 2234: 1997: 1734:to highlight the danger to Padua posed by 1106:meditations on death, loss and suffering; 995:is considered a classic example of tragedy 952:and Christians, in a common activity," as 873: 859: 500: 307: 208: 38: 4839:Cambridge, MA: Harvard University Press. 4755: 4716: 4088:. Baudry's European Library. p. 212. 3753: 3574: 3559: 3544: 3313: 1772:(1478–1550) of Vicenza wrote his tragedy 5086:The Cambridge Companion to Greek Tragedy 4991:(9th, ill ed.). Allyn & Bacon. 4192:Headington, Westbrook & Barfoot 1991 4125:Headington, Westbrook & Barfoot 1991 3681: 3659:The Cambridge Companion to Greek Tragedy 3395: 3368: 3356: 3344: 2954:, which is often translated as either a 2605: 1554: 5275:Lectures on Dramatic Art and Literature 5025:Colón, Christine (2007). Introduction. 4786: 4227: 4215: 4157:10.1093/gmo/9781561592630.article.44040 3717: 3446: 3434: 3383: 3257: 3152: 3001:fear the purification of such emotions. 2000: 1417:from which the tragic genre developed. 788: 735: 697: 639: 609: 541: 503: 494: 415: 310: 301: 241: 211: 144: 57: 41: 16:Genre of drama based on human suffering 5196: 4655:Stray, Christopher (16 October 2013). 4327:from the original on 26 September 2022 4251: 4239: 3804: 3419: 3407: 3301: 2674:'s tragedies—inspired by Greek myths, 2509:Classical Domestic tragedies include: 2388:The Tragical History of Doctor Faustus 1563:by Euripides. Roman fresco in Pompeii. 7748:Do not go gentle into that good night 4810: 4798: 4544:. John Wiley & Sons. p. 45. 4427:from the original on 23 February 2019 4203: 3870: 3741: 3705: 2709:French literature of the 17th century 1883:, as well as comedic writers such as 1800:of Trissino's friend, the Florentine 1730:, which uses the story of the tyrant 1656:(tragedies based on Roman subjects), 1012:, one of the five classic tragedy of 7: 7162: 4843:from the original on 8 November 2013 4358:from the original on 27 January 2019 3913:10.1016/j.mechmachtheory.2013.04.010 2962:, a sporting term that refers to an 1840:, by Portuguese poet and playwright 1295:. In another view on the etymology, 1288:danced around prior to the animal's 1233:define their epic theatre projects ( 7182: 5282:from the original on 2 October 2020 5127:. Vol. 14. Stuttgart: Fromann. 4577:Taylor, Kevin (21 September 2018). 4448:"The Frontiers of American Tragedy" 3882: 3693: 2925:is preferable because this induces 1314:Writing in 335 BCE (long after the 7734:Because I could not stop for Death 5424:Taplin, Oliver; Billings, Joshua. 5082:"The audience of Athenian tragedy" 4675:from the original on 23 March 2023 4636:from the original on 23 March 2023 4597:from the original on 23 March 2023 4558:from the original on 23 March 2023 4458:from the original on 9 August 2020 4415:Bernier, Kathy (3 December 2016). 4173:from the original on 13 April 2018 3461:The Semiotics of Theatre and Drama 2996:of the word "tragedy" (τραγῳδία): 1915:(and contemporary commentaries by 1358:, the god of wine and fertility): 14: 5428:(podcast). UK: Oxford University. 4947:The Origin of German Tragic Drama 4519:from the original on 11 July 2018 4488:from the original on 11 July 2018 4392:from the original on 5 April 2018 3526:from the original on 27 July 2011 2666:François Hédelin, abbé d'Aubignac 2017:16th-century Renaissance humanism 7727:And death shall have no dominion 7672:Sleep and His Half-Brother Death 7191: 7181: 7171: 7161: 7152: 7151: 6402: 5230:The Theory and Analysis of Drama 4729:Rorty, Amelie Oksenberg (1992). 3110: 2173:Dutch Renaissance and Golden Age 1530:in the first play of Aeschylus' 1266:= "goat song", which comes from 842: 49: 7774:1st-millennium BC introductions 7700:The Three Ages of Man and Death 7623:Gather Ye Rosebuds While Ye May 7192: 5367:. London: Chatto & Windus. 5343:Tragedy, Modernity and Mourning 5065:. Baltimore: Johns Hopkins UP. 4770:Landmarks of Contemporary Drama 4277:Steiner, George (Winter 2004). 2378:A contemporary of Shakespeare, 1573:Following the expansion of the 940:and historical continuity—"the 4900:The Cambridge Guide to Theatre 4865:——— (1987). 4835:. Vol. 23. Translated by 4538:Brown, Sarah (15 April 2008). 3756:, pp. 3–5, 33: [although 3630:The Cambridge Guide to Theatre 2624:For much of the 17th century, 1: 7439:Capuchin catacombs of palermo 5182:. London: JM Dent & Sons. 5136:. Malden, MA: Blackwell Pub. 5033:. Chicago: Valancourd Books. 4731:Essays on Aristotle's Poetics 4661:. A&C Black. p. 78. 3591:. In Gregory, Justina (ed.). 3280:Conversi, Leonard W. (2019). 2705:French Renaissance literature 2177:Folklore of the Low Countries 1802:Giovanni di Bernardo Rucellai 1354:sung and danced in praise of 6314:Aestheticization of politics 5134:A companion to Greek tragedy 4896:Banham, Martin, ed. (1998). 4346:Sallis, James (4 May 2008). 3901:Mechanism and Machine Theory 3265:Klein, E (1967). "Tragedy". 2523:A Woman Killed with Kindness 2111: 1860:(Antonio da Pistoia); and a 1687:Influence of Greek and Roman 1638:, for example, was based on 7511:The Masque of the Red Death 6451:Roman and Byzantine theatre 5345:. Edinburgh: Edinburgh UP. 4972:(repr ed.). Atlantic. 4904:. Cambridge: Cambridge UP. 4151:. Oxford University Press. 3628:. In Banham, Martin (ed.). 3088:The Phenomenology of Spirit 2570:were not called opera, but 2087:English Renaissance theatre 1982:English Renaissance theatre 1856:written in 1498 or 1508 by 1180:In the wake of Aristotle's 989:narrative poem of same name 928:often refers to a specific 7835: 5228:Pfister, Manfred (1988) . 5094:10.1017/ccol0521412455.003 5057:Felski, Rita, ed. (2008). 3760:of the 4th century judged 3593:Companion to Greek tragedy 3184: 3082:trilogy and of Sophocles' 2883: 2731: 2690:and amorous passion (like 2427: 2260:The common forms are the: 2032:16th century in literature 2022:Reformation-era propaganda 1979: 1945:Pedro Calderón de la Barca 1628:survive, all of which are 1566: 1449: 1254: 894: 32:Tragedian (disambiguation) 29: 18: 7537:Death and Transfiguration 7325:Personifications of death 7147: 6457: 6382: 5438:(online ed.). Tufts. 4970:Oxford Lectures on Poetry 4280:""Tragedy," Reconsidered" 4003:Brockett & Hildy 2003 3991:Brockett & Hildy 2003 3976:Brockett & Hildy 2003 3964:Brockett & Hildy 2003 3949:Brockett & Hildy 2003 3937:Brockett & Hildy 2003 3846:Harrison, Thomas (2019). 3793:Brockett & Hildy 2003 3730:Brockett & Hildy 2003 3516:of Naucratis, Athenaeus. 3504:Brockett & Hildy 2003 2746:and the emergence of the 2271:Tragedy of miscalculation 1828:of the same author; like 1098:' tragic vengeance & 1041:theatre of ancient Greece 7312:Sic transit gloria mundi 6803:Theatrical superstitions 5318:. New York: Peter Lang. 5270:Schlegel, August Wilhelm 5180:Greek Drama for Everyman 5006:Carlson, Marvin (1993). 3587:Scullion, Scott (2007). 3024:Complex, which involves 2768:Bürgerliches Trauerspiel 2760:Gotthold Ephraim Lessing 2555:, in the preface to his 1420:Scott Scullion writes: 1239:Theatre of the Oppressed 1039:From its origins in the 948:, in one cultural form; 25:Tragedy (disambiguation) 7544:Der Tod und das Mädchen 7381:Post-mortem photography 6334:Evolutionary aesthetics 6284:The Aesthetic Dimension 4924:Arguments for a Theatre 4833:Aristotle in 23 Volumes 4698:A Definition of Tragedy 4137:Sadler, Graham (2001). 4069:Encyclopædia Britannica 3286:Encyclopædia Britannica 2860:A Definition of Tragedy 2792:Arguments for a Theatre 2265:Tragedy of circumstance 1746:written before 1390 by 1718:(1241–1309). His pupil 1559:Scene from the tragedy 1526:is after the murder of 6798:Theatrical constraints 6264:Avant-Garde and Kitsch 6214:Lectures on Aesthetics 5341:Taxidou, Olga (2004). 5295:Sorkin, Nancy (2008). 4989:History of the theatre 4694:Mandel, Oscar (1961). 4616:Kendrick, Tom (2003). 4421:www.offthegridnews.com 4106:(in Italian). Treccani 4082:Hallam, Henry (1837). 4048:(in Italian). Treccani 4022:(in Italian). Treccani 3624:Brown, Andrew (1998). 3097: 3003: 2823:The Fault in Our Stars 2621: 2027:16th century in poetry 1977: 1976:, Cordelia's Farewell 1917:Julius Caesar Scaliger 1754:(c.1365–1441) and the 1732:Ezzelino III da Romano 1676:Julius Caesar Scaliger 1564: 1447: 1427: 1393: 1374: 1235:non-Aristotelian drama 1036: 1016: 996: 972: 23:. For other uses, see 7779:Ancient Greek theatre 7287:Lamentation of Christ 7038:Theatrical technician 6944:Theatrical Technician 6904:Electrician (theatre) 6878:Production management 6409:Philosophy portal 5314:Styan, J. L. (2000). 4541:Tragedy in Transition 4513:www.broadwayworld.com 4297:10.1353/nlh.2004.0024 4140:"Tragédie en musique" 2884:Further information: 2811:Froth on the Daydream 2732:Further information: 2609: 2539:The Witch of Edmonton 2395:Tamburlaine the Great 1990:Shakespearean tragedy 1966: 1866:Galeotto del Carretto 1770:Gian Giorgio Trissino 1736:Cangrande della Scala 1558: 1437: 1390:Poetics, VI 1449b 2–3 1385:) to such emotions. 1030:ancient Greek tragedy 1022: 1002: 978: 962: 849:Literature portal 7707:The Triumph of Death 7609:Death and the Maiden 7281:Death and the Maiden 7241:and mortality in art 7058:Light board operator 6843:Costume construction 6354:Philosophy of design 6234:In Praise of Shadows 6224:The Critic as Artist 5252:Greek Tragic Theatre 5209:The Birth of Tragedy 5204:Nietzsche, Friedrich 5159:Ley, Graham (2007). 5115:. Arrow. p. 22. 5048:Dukore, ed. (1974). 4484:. 18 November 2009. 4285:New Literary History 4265:The Death of Tragedy 4104:Enciclopedia on line 4046:Enciclopedia on line 4042:"Mussato, Albertino" 4020:Enciclopedia on line 4016:"Lovati, Lovato de'" 3131:Tragédies en musique 2803:The Death of Tragedy 2780:modernist literature 2614:as Nero in Racine's 2595:The Birth of Tragedy 2410:The Duchess of Malfi 2372:Troilus and Cressida 2302:Antony and Cleopatra 1921:Lodovico Castelvetro 1907:and the precepts of 1854:Filostrato e Panfila 1597:. Five years later, 1406:The Birth of Tragedy 1307:(grape harvest) and 1219:deterritorialisation 934:Western civilization 623:Groups and movements 7693:The Shadow of Death 7686:The Garden of Death 7630:La Calavera Catrina 7616:Death and the Miser 7093:Wardrobe supervisor 7063:Lighting technician 6954:Wardrobe supervisor 6899:Carpenter (theatre) 6838:Theatrical property 6808:Technical rehearsal 6557:English Renaissance 6364:Philosophy of music 6339:Mathematical beauty 4768:Chiari, J. (1965). 3459:Elam, Keir (1980). 3422:: primary material. 3386:, pp. 193–209. 3228:was not written by 2978:and not a tragedy. 2886:Poetics (Aristotle) 2847:The Handmaid's Tale 2841:Requiem for a Dream 2576:tragédie en musique 2572:tragédie en musique 2531:A Yorkshire Tragedy 2380:Christopher Marlowe 2290:William Shakespeare 1825:Iphigenia in Tauris 1561:Iphigenia in Tauris 1401:Friedrich Nietzsche 1075:to the more recent 970:William Shakespeare 924:response, the term 242:Short prose fiction 145:Major written forms 7794:History of theatre 7784:Ancient inventions 7506:Hamlet's soliloquy 7429:Catacombs of Paris 7254:All flesh is grass 7197:Outline of theatre 7068:Spotlight operator 7033:Technical director 7018:Production manager 6934:Spotlight operator 6883:Company management 6873:Technical director 6562:Spanish Golden Age 6551:Commedia dell'arte 6359:Philosophy of film 6349:Patterns in nature 6319:Applied aesthetics 6294:Why Beauty Matters 6080:Life imitating art 5941:Art for art's sake 5426:"What is Tragedy?" 5211:and Other Writings 5199:, pp. 894–7). 5192:The New York Times 5178:Lucas, FL (1954). 5061:Rethinking Tragedy 4827:Aristotle (1932). 4789:, pp. 114–56. 4482:www.ocregister.com 4452:www.thecrimson.com 4145:Grove Music Online 3951:, pp. 36, 47. 3817:Euripides (1997). 3519:The deipnosophists 2893:wrote in his work 2774:Modern development 2622: 2515:Arden of Faversham 2506:, and loneliness. 2077:Metaphysical poets 1978: 1968:Edwin Austin Abbey 1941:Spanish Golden Age 1626:Seneca's tragedies 1565: 1459:Hellenistic period 1448: 1446:, 2nd century BCE. 1073:Friedrich Schiller 1037: 1017: 1014:Punjabi literature 997: 973: 736:Lists and outlines 212:Long prose fiction 7809:Theatrical genres 7761: 7760: 7757: 7756: 7644:Pyramid of Skulls 7577:Et in Arcadia ego 7205: 7204: 7127: 7126: 6975:Lighting designer 6567:French Classicism 6485: 6484: 6417: 6416: 6369:Psychology of art 6244:Art as Experience 5361:Williams, Raymond 5306:978-1-4051-2161-3 5170:978-0-226-47761-9 5103:978-0-521-41245-2 5072:978-0-8018-8740-6 5040:978-0-9792332-0-3 5027:Six Gothic Dramas 4998:978-0-205-35878-6 4979:978-81-7156-379-1 4801:, pp. 567–8. 4380:Chapple, Tobias. 4166:978-1-56159-263-0 4005:, pp. 49–50. 3655:Easterling, P. E. 3626:"Greece, Ancient" 3602:978-1-4051-5205-1 3371:, pp. 13–84. 3347:, pp. 14–16. 2764:Miss Sara Sampson 2734:Bourgeois tragedy 2715:Later development 2566:to about that of 2562:from the time of 2496:domestic violence 2258: 2257: 1720:Albertino Mussato 1716:Lovato de' Lovati 1695:was dominated by 1619:Stoic philosopher 1591:Livius Andronicus 1343:of the leader of 1085:August Strindberg 938:cultural identity 883: 882: 635: 634: 490: 489: 297: 296: 7826: 7819:Greek inventions 7495:Book of the Dead 7458:The Seventh Seal 7414: 7232: 7225: 7218: 7209: 7195: 7194: 7185: 7184: 7175: 7165: 7164: 7155: 7154: 7109:Musical ensemble 6970:Costume designer 6868:Stage management 6858: 6833:Set construction 6512: 6505: 6498: 6489: 6444: 6437: 6430: 6421: 6407: 6406: 6405: 6299: 6289: 6279: 6269: 6259: 6249: 6239: 6229: 6219: 6209: 6199: 6189: 6179: 6169: 5468: 5461: 5454: 5445: 5439: 5429: 5408:Toscano, Alberto 5378: 5356: 5337: 5310: 5291: 5289: 5287: 5265: 5243: 5224: 5194: 5183: 5174: 5155: 5128: 5116: 5113:Opera: a History 5107: 5076: 5064: 5053: 5044: 5021: 5002: 4983: 4961: 4942:Benjamin, Walter 4937: 4915: 4903: 4892: 4880: 4861: 4852: 4850: 4848: 4814: 4808: 4802: 4796: 4790: 4784: 4778: 4777: 4765: 4759: 4758:, Section 1135b. 4753: 4747: 4741: 4735: 4734: 4726: 4720: 4719:, Section 1452b. 4714: 4708: 4707: 4701: 4691: 4685: 4684: 4682: 4680: 4652: 4646: 4645: 4643: 4641: 4613: 4607: 4606: 4604: 4602: 4574: 4568: 4567: 4565: 4563: 4535: 4529: 4528: 4526: 4524: 4507:Bustin, Jeremy. 4504: 4498: 4497: 4495: 4493: 4474: 4468: 4467: 4465: 4463: 4443: 4437: 4436: 4434: 4432: 4412: 4406: 4405: 4399: 4397: 4377: 4371: 4370: 4365: 4363: 4343: 4337: 4336: 4334: 4332: 4282: 4274: 4268: 4263:George Steiner, 4261: 4255: 4249: 4243: 4237: 4231: 4225: 4219: 4213: 4207: 4201: 4195: 4189: 4183: 4182: 4180: 4178: 4142: 4134: 4128: 4122: 4116: 4115: 4113: 4111: 4096: 4090: 4089: 4079: 4073: 4072: 4064: 4058: 4057: 4055: 4053: 4038: 4032: 4031: 4029: 4027: 4012: 4006: 4000: 3994: 3988: 3979: 3973: 3967: 3961: 3952: 3946: 3940: 3934: 3925: 3924: 3892: 3886: 3885:, p. 33–34. 3880: 3874: 3868: 3862: 3861: 3843: 3837: 3836: 3814: 3808: 3802: 3796: 3790: 3781: 3780:—and beyond it". 3751: 3745: 3739: 3733: 3732:, pp. 32–3. 3727: 3721: 3715: 3709: 3703: 3697: 3691: 3685: 3679: 3673: 3672: 3650: 3644: 3643: 3621: 3615: 3614: 3584: 3578: 3572: 3563: 3562:, Section 1449b. 3557: 3548: 3542: 3536: 3535: 3533: 3531: 3513: 3507: 3501: 3492: 3481: 3475: 3474: 3456: 3450: 3444: 3438: 3432: 3423: 3417: 3411: 3405: 3399: 3393: 3387: 3381: 3372: 3366: 3360: 3354: 3348: 3342: 3336: 3311: 3305: 3299: 3290: 3289: 3277: 3271: 3270: 3262: 3246: 3239: 3233: 3225:Prometheus Bound 3222:The theory that 3220: 3214: 3199: 3193: 3188: 3157: 3120: 3115: 3114: 3072:tragic collision 2797:Critics such as 2626:Pierre Corneille 2484:structural abuse 2430:Domestic tragedy 2424:Domestic tragedy 2365:Titus Andronicus 2351:Romeo and Juliet 2250: 2243: 2236: 2166:Bohorič alphabet 1998: 1858:Antonio Cammelli 1842:António Ferreira 1834:hendecasyllables 1693:Medieval theatre 1654:fabula praetexta 1630:fabula crepidata 1595:Roman literature 1413:in the original 1391: 1372: 1270:= "he-goat" and 1257: 1256: 1223:mid-19th century 1117:—which includes 985:Layla and Majnun 965:Romeo and Juliet 954:Raymond Williams 904:) is a genre of 899: 898: 875: 868: 861: 847: 846: 845: 501: 308: 209: 53: 39: 7834: 7833: 7829: 7828: 7827: 7825: 7824: 7823: 7804:Literary genres 7764: 7763: 7762: 7753: 7712: 7679:The Ambassadors 7563: 7515: 7463: 7443: 7405: 7334: 7242: 7236: 7206: 7201: 7143: 7123: 7097: 7083:Property master 6999: 6980:Scenic designer 6958: 6919:Property master 6887: 6847: 6823:Lighting design 6768: 6759: 6708: 6664:Musical theatre 6642: 6521: 6516: 6486: 6481: 6453: 6448: 6418: 6413: 6403: 6401: 6378: 6302: 6297: 6287: 6277: 6274:Critical Essays 6267: 6257: 6247: 6237: 6227: 6217: 6207: 6197: 6187: 6177: 6167: 6151: 5924: 5838:Ortega y Gasset 5631: 5543: 5477: 5472: 5433: 5423: 5389: 5383: 5381: 5375: 5359: 5353: 5340: 5326: 5313: 5307: 5294: 5285: 5283: 5268: 5262: 5246: 5240: 5227: 5221: 5202: 5186: 5177: 5171: 5158: 5144: 5131: 5125:Samlichte Werke 5119: 5110: 5104: 5079: 5073: 5056: 5047: 5041: 5031:Baillie, Joanna 5024: 5018: 5005: 4999: 4986: 4980: 4964: 4958: 4940: 4934: 4918: 4912: 4895: 4885:Baillie, Joanna 4883: 4877: 4864: 4855: 4846: 4844: 4826: 4822: 4817: 4809: 4805: 4797: 4793: 4785: 4781: 4767: 4766: 4762: 4754: 4750: 4742: 4738: 4728: 4727: 4723: 4715: 4711: 4693: 4692: 4688: 4678: 4676: 4669: 4654: 4653: 4649: 4639: 4637: 4630: 4615: 4614: 4610: 4600: 4598: 4591: 4576: 4575: 4571: 4561: 4559: 4552: 4537: 4536: 4532: 4522: 4520: 4506: 4505: 4501: 4491: 4489: 4476: 4475: 4471: 4461: 4459: 4445: 4444: 4440: 4430: 4428: 4414: 4413: 4409: 4395: 4393: 4386:www.litro.co.uk 4379: 4378: 4374: 4361: 4359: 4352:www.latimes.com 4345: 4344: 4340: 4330: 4328: 4276: 4275: 4271: 4262: 4258: 4250: 4246: 4238: 4234: 4226: 4222: 4214: 4210: 4202: 4198: 4190: 4186: 4176: 4174: 4167: 4136: 4135: 4131: 4123: 4119: 4109: 4107: 4098: 4097: 4093: 4081: 4080: 4076: 4066: 4065: 4061: 4051: 4049: 4040: 4039: 4035: 4025: 4023: 4014: 4013: 4009: 4001: 3997: 3989: 3982: 3974: 3970: 3962: 3955: 3947: 3943: 3935: 3928: 3894: 3893: 3889: 3881: 3877: 3869: 3865: 3858: 3845: 3844: 3840: 3833: 3816: 3815: 3811: 3803: 3799: 3791: 3784: 3752: 3748: 3740: 3736: 3728: 3724: 3716: 3712: 3704: 3700: 3692: 3688: 3680: 3676: 3669: 3652: 3651: 3647: 3640: 3623: 3622: 3618: 3603: 3586: 3585: 3581: 3573: 3566: 3558: 3551: 3543: 3539: 3529: 3527: 3515: 3514: 3510: 3502: 3495: 3482: 3478: 3471: 3458: 3457: 3453: 3445: 3441: 3433: 3426: 3418: 3414: 3406: 3402: 3394: 3390: 3382: 3375: 3367: 3363: 3355: 3351: 3343: 3339: 3312: 3308: 3304:, p. 1118. 3300: 3293: 3279: 3278: 3274: 3264: 3263: 3259: 3255: 3250: 3249: 3240: 3236: 3221: 3217: 3200: 3196: 3158: 3154: 3149: 3141:Revenge tragedy 3116: 3109: 3106: 3057: 2909:). Aristotle's 2888: 2882: 2856: 2776: 2748:bourgeois class 2740: 2730: 2717: 2604: 2585:Gesamtkunstwerk 2549: 2500:social shunning 2432: 2426: 2417:The White Devil 2358:Timon of Athens 2254: 2225: 2224: 2223: 2188: 2180: 2179: 2170: 2130: 2122: 2121: 2120: 2108: 2091: 2082: 2072: 2045: 2037: 2036: 2012: 2004:-era literature 1996: 1961: 1949:Tirso de Molina 1763:Gregorio Correr 1689: 1684: 1652:example of the 1608:Marcus Pacuvius 1571: 1569:Senecan tragedy 1553: 1545:deus ex machina 1498:12,000 people. 1454: 1432: 1392: 1389: 1373: 1371:IV, 1449a 10–15 1367: 1251:Classical Greek 1247: 1127:Saint Augustine 908:based on human 879: 843: 841: 774:Literary awards 640:Dramatic genres 381:science fiction 59:Oral literature 35: 28: 21:Tragedy (event) 17: 12: 11: 5: 7832: 7830: 7822: 7821: 7816: 7811: 7806: 7801: 7796: 7791: 7786: 7781: 7776: 7766: 7765: 7759: 7758: 7755: 7754: 7752: 7751: 7744: 7737: 7730: 7722: 7720: 7714: 7713: 7711: 7710: 7703: 7696: 7689: 7682: 7675: 7668: 7661: 7654: 7647: 7640: 7633: 7626: 7619: 7612: 7605: 7602:Death and Life 7598: 7595:Death and Fire 7591: 7590: 7589: 7584: 7573: 7571: 7565: 7564: 7562: 7561: 7554: 7547: 7540: 7533: 7525: 7523: 7517: 7516: 7514: 7513: 7508: 7503: 7498: 7491: 7486: 7479: 7471: 7469: 7465: 7464: 7462: 7461: 7453: 7451: 7445: 7444: 7442: 7441: 7436: 7434:Sedlec Ossuary 7431: 7426: 7424:Capuchin Crypt 7420: 7418: 7411: 7407: 7406: 7404: 7403: 7398: 7393: 7388: 7383: 7378: 7373: 7368: 7363: 7358: 7353: 7348: 7342: 7340: 7336: 7335: 7333: 7332: 7327: 7322: 7315: 7308: 7301: 7294: 7289: 7284: 7277: 7270: 7263: 7256: 7250: 7248: 7244: 7243: 7237: 7235: 7234: 7227: 7220: 7212: 7203: 7202: 7200: 7199: 7189: 7179: 7169: 7159: 7148: 7145: 7144: 7142: 7141: 7135: 7133: 7129: 7128: 7125: 7124: 7122: 7121: 7116: 7111: 7105: 7103: 7099: 7098: 7096: 7095: 7090: 7085: 7080: 7078:Sound operator 7075: 7070: 7065: 7060: 7055: 7050: 7045: 7040: 7035: 7030: 7025: 7020: 7015: 7009: 7007: 7001: 7000: 6998: 6997: 6992: 6990:Sound engineer 6987: 6985:Sound designer 6982: 6977: 6972: 6966: 6964: 6960: 6959: 6957: 6956: 6951: 6949:Technical crew 6946: 6941: 6936: 6931: 6926: 6924:Pyrotechnician 6921: 6916: 6914:Make-up artist 6911: 6906: 6901: 6895: 6893: 6889: 6888: 6886: 6885: 6880: 6875: 6870: 6864: 6862: 6855: 6849: 6848: 6846: 6845: 6840: 6835: 6830: 6825: 6820: 6815: 6813:Technical week 6810: 6805: 6800: 6795: 6790: 6785: 6780: 6774: 6772: 6761: 6760: 6758: 6757: 6752: 6747: 6742: 6737: 6732: 6727: 6722: 6716: 6714: 6710: 6709: 6707: 6706: 6701: 6696: 6691: 6686: 6681: 6676: 6671: 6666: 6661: 6656: 6650: 6648: 6644: 6643: 6641: 6640: 6639: 6638: 6628: 6622: 6621: 6616: 6611: 6606: 6600: 6599: 6594: 6589: 6584: 6579: 6574: 6569: 6564: 6559: 6554: 6547: 6542: 6537: 6531: 6529: 6523: 6522: 6517: 6515: 6514: 6507: 6500: 6492: 6483: 6482: 6480: 6479: 6474: 6469: 6464: 6458: 6455: 6454: 6449: 6447: 6446: 6439: 6432: 6424: 6415: 6414: 6412: 6411: 6399: 6394: 6389: 6383: 6380: 6379: 6377: 6376: 6371: 6366: 6361: 6356: 6351: 6346: 6344:Neuroesthetics 6341: 6336: 6331: 6326: 6324:Arts criticism 6321: 6316: 6310: 6308: 6304: 6303: 6301: 6300: 6290: 6280: 6270: 6260: 6250: 6240: 6230: 6220: 6210: 6200: 6194:On the Sublime 6190: 6180: 6170: 6159: 6157: 6153: 6152: 6150: 6149: 6144: 6139: 6134: 6129: 6124: 6119: 6114: 6107: 6102: 6097: 6092: 6087: 6082: 6077: 6072: 6065: 6060: 6058:Interpretation 6055: 6050: 6045: 6040: 6035: 6030: 6025: 6020: 6015: 6010: 6005: 6000: 5995: 5990: 5985: 5980: 5975: 5974: 5973: 5968: 5958: 5953: 5951:Artistic merit 5948: 5943: 5938: 5932: 5930: 5926: 5925: 5923: 5922: 5915: 5910: 5905: 5900: 5895: 5890: 5885: 5880: 5875: 5870: 5865: 5860: 5855: 5850: 5845: 5840: 5835: 5830: 5825: 5820: 5815: 5810: 5805: 5800: 5795: 5790: 5785: 5780: 5775: 5770: 5765: 5760: 5755: 5750: 5745: 5740: 5735: 5730: 5725: 5720: 5715: 5710: 5705: 5700: 5695: 5690: 5685: 5680: 5675: 5670: 5665: 5660: 5655: 5650: 5645: 5639: 5637: 5633: 5632: 5630: 5629: 5622: 5617: 5612: 5607: 5602: 5600:Psychoanalysis 5597: 5592: 5587: 5582: 5577: 5572: 5567: 5562: 5557: 5551: 5549: 5545: 5544: 5542: 5541: 5536: 5531: 5526: 5521: 5516: 5511: 5506: 5501: 5496: 5491: 5485: 5483: 5479: 5478: 5473: 5471: 5470: 5463: 5456: 5448: 5442: 5441: 5431: 5421: 5405: 5388: 5387:External links 5385: 5380: 5379: 5373: 5365:Modern Tragedy 5357: 5351: 5338: 5324: 5311: 5305: 5292: 5266: 5260: 5244: 5238: 5225: 5219: 5200: 5188:Miller, Arthur 5184: 5175: 5169: 5156: 5142: 5129: 5117: 5108: 5102: 5077: 5071: 5054: 5045: 5039: 5022: 5016: 5003: 4997: 4984: 4978: 4962: 4956: 4938: 4932: 4920:Barker, Howard 4916: 4910: 4893: 4881: 4875: 4862: 4853: 4823: 4821: 4818: 4816: 4815: 4813:, p. 572. 4803: 4791: 4779: 4760: 4756:Aristotle 1932 4748: 4736: 4721: 4717:Aristotle 1932 4709: 4686: 4667: 4647: 4628: 4608: 4589: 4569: 4550: 4530: 4499: 4469: 4446:Meehan, Ryan. 4438: 4407: 4372: 4338: 4269: 4256: 4244: 4242:, p. 894. 4232: 4220: 4208: 4196: 4194:, p. 178. 4184: 4165: 4129: 4117: 4091: 4074: 4059: 4033: 4007: 3995: 3993:, pp. 50. 3980: 3968: 3953: 3941: 3926: 3887: 3875: 3863: 3856: 3838: 3831: 3819:"Introduction" 3809: 3807:, p. 379. 3797: 3782: 3754:Cartledge 1997 3746: 3744:, p. 444. 3734: 3722: 3710: 3708:, p. 140. 3698: 3696:, p. 206. 3686: 3674: 3667: 3645: 3638: 3616: 3601: 3579: 3575:Nietzsche 1999 3564: 3560:Aristotle 1932 3549: 3545:Aristotle 1987 3537: 3508: 3493: 3476: 3469: 3451: 3439: 3424: 3412: 3400: 3388: 3373: 3361: 3349: 3337: 3314:Nietzsche 1999 3306: 3291: 3272: 3256: 3254: 3251: 3248: 3247: 3234: 3215: 3194: 3160:Middle English 3151: 3150: 3148: 3145: 3144: 3143: 3138: 3133: 3128: 3122: 3121: 3118:Theatre portal 3105: 3102: 3056: 3053: 3052: 3051: 3041: 3035: 3032: 2956:character flaw 2881: 2878: 2855: 2852: 2799:George Steiner 2775: 2772: 2738:Augustan drama 2729: 2726: 2721:Joanna Baillie 2716: 2713: 2661: 2660: 2649: 2646: 2603: 2600: 2582:'s concept of 2580:Richard Wagner 2548: 2545: 2544: 2543: 2535: 2527: 2519: 2468:Eugene O'Neill 2428:Main article: 2425: 2422: 2421: 2420: 2413: 2399: 2398: 2391: 2376: 2375: 2368: 2361: 2354: 2347: 2340: 2333: 2326: 2319: 2312: 2305: 2286: 2285: 2278: 2268: 2256: 2255: 2253: 2252: 2245: 2238: 2230: 2227: 2226: 2222: 2221: 2216: 2211: 2206: 2201: 2196: 2190: 2189: 2186: 2185: 2182: 2181: 2169: 2168: 2163: 2158: 2153: 2148: 2143: 2138: 2132: 2131: 2128: 2127: 2124: 2123: 2119: 2114: 2109: 2107: 2102: 2097: 2092: 2090: 2089: 2080: 2079: 2073: 2071: 2070: 2065: 2060: 2054: 2053: 2052: 2046: 2043: 2042: 2039: 2038: 2035: 2034: 2029: 2024: 2019: 2013: 2010: 2009: 2006: 2005: 1960: 1957: 1846:Inês de Castro 1784:'s account of 1748:Antonio Loschi 1701:morality plays 1688: 1685: 1683: 1680: 1604:Quintus Ennius 1599:Gnaeus Naevius 1575:Roman Republic 1552: 1549: 1450:Main article: 1431: 1428: 1387: 1365: 1341:improvisations 1284:or was what a 1282:choral dancing 1264:trag(o)-aoidiā 1246: 1243: 1227:Bertolt Brecht 1225:onwards. Both 1208:the tragicomic 1100:Samuel Beckett 993:Nizami Ganjavi 914:main character 881: 880: 878: 877: 870: 863: 855: 852: 851: 838: 837: 836: 835: 830: 825: 820: 815: 810: 805: 797: 796: 786: 785: 784: 783: 782: 781: 771: 766: 761: 756: 751: 746: 738: 737: 733: 732: 731: 730: 725: 720: 715: 710: 702: 701: 695: 694: 693: 692: 687: 682: 677: 672: 671: 670: 665: 655: 650: 642: 641: 637: 636: 633: 632: 631: 630: 625: 620: 612: 611: 607: 606: 605: 604: 599: 594: 589: 584: 579: 574: 569: 564: 559: 554: 546: 545: 539: 538: 537: 536: 531: 526: 521: 516: 508: 507: 497: 496: 492: 491: 488: 487: 486: 485: 480: 475: 470: 465: 460: 455: 450: 445: 440: 439: 438: 433: 420: 419: 413: 412: 411: 410: 405: 400: 399: 398: 393: 388: 383: 378: 373: 368: 363: 358: 353: 348: 343: 333: 328: 323: 315: 314: 304: 303: 299: 298: 295: 294: 293: 292: 287: 282: 277: 272: 267: 262: 257: 252: 244: 243: 239: 238: 237: 236: 227: 222: 214: 213: 207: 206: 201: 196: 195: 194: 184: 179: 178: 177: 172: 162: 161: 160: 147: 146: 142: 141: 140: 139: 134: 133: 132: 127: 117: 112: 111: 110: 105: 100: 95: 90: 85: 80: 75: 62: 61: 55: 54: 46: 45: 15: 13: 10: 9: 6: 4: 3: 2: 7831: 7820: 7817: 7815: 7812: 7810: 7807: 7805: 7802: 7800: 7797: 7795: 7792: 7790: 7787: 7785: 7782: 7780: 7777: 7775: 7772: 7771: 7769: 7749: 7745: 7742: 7738: 7735: 7731: 7728: 7724: 7723: 7721: 7719: 7715: 7709: 7708: 7704: 7702: 7701: 7697: 7695: 7694: 7690: 7688: 7687: 7683: 7681: 7680: 7676: 7674: 7673: 7669: 7667: 7666: 7662: 7660: 7659: 7655: 7653: 7652: 7648: 7646: 7645: 7641: 7639: 7638: 7634: 7632: 7631: 7627: 7625: 7624: 7620: 7618: 7617: 7613: 7611: 7610: 7606: 7604: 7603: 7599: 7597: 7596: 7592: 7588: 7585: 7583: 7580: 7579: 7578: 7575: 7574: 7572: 7570: 7566: 7560: 7559: 7555: 7553: 7552: 7548: 7546: 7545: 7541: 7539: 7538: 7534: 7532: 7531: 7530:Danse macabre 7527: 7526: 7524: 7522: 7518: 7512: 7509: 7507: 7504: 7502: 7499: 7497: 7496: 7492: 7490: 7487: 7485: 7484: 7480: 7478: 7477: 7473: 7472: 7470: 7466: 7460: 7459: 7455: 7454: 7452: 7450: 7446: 7440: 7437: 7435: 7432: 7430: 7427: 7425: 7422: 7421: 7419: 7415: 7412: 7408: 7402: 7399: 7397: 7394: 7392: 7389: 7387: 7384: 7382: 7379: 7377: 7374: 7372: 7369: 7367: 7364: 7362: 7361:Funerary text 7359: 7357: 7354: 7352: 7349: 7347: 7344: 7343: 7341: 7337: 7331: 7328: 7326: 7323: 7321: 7320: 7316: 7314: 7313: 7309: 7307: 7306: 7305:Mono no aware 7302: 7300: 7299: 7295: 7293: 7290: 7288: 7285: 7283: 7282: 7278: 7276: 7275: 7274:Danse Macabre 7271: 7269: 7268: 7264: 7262: 7261: 7257: 7255: 7252: 7251: 7249: 7245: 7240: 7233: 7228: 7226: 7221: 7219: 7214: 7213: 7210: 7198: 7190: 7188: 7180: 7178: 7174: 7170: 7168: 7160: 7158: 7150: 7149: 7146: 7140: 7137: 7136: 7134: 7132:Miscellaneous 7130: 7120: 7119:Pit orchestra 7117: 7115: 7112: 7110: 7107: 7106: 7104: 7100: 7094: 7091: 7089: 7086: 7084: 7081: 7079: 7076: 7074: 7071: 7069: 7066: 7064: 7061: 7059: 7056: 7054: 7051: 7049: 7046: 7044: 7041: 7039: 7036: 7034: 7031: 7029: 7026: 7024: 7023:Stage manager 7021: 7019: 7016: 7014: 7011: 7010: 7008: 7006: 7002: 6996: 6993: 6991: 6988: 6986: 6983: 6981: 6978: 6976: 6973: 6971: 6968: 6967: 6965: 6961: 6955: 6952: 6950: 6947: 6945: 6942: 6940: 6937: 6935: 6932: 6930: 6927: 6925: 6922: 6920: 6917: 6915: 6912: 6910: 6907: 6905: 6902: 6900: 6897: 6896: 6894: 6890: 6884: 6881: 6879: 6876: 6874: 6871: 6869: 6866: 6865: 6863: 6859: 6856: 6854: 6850: 6844: 6841: 6839: 6836: 6834: 6831: 6829: 6826: 6824: 6821: 6819: 6816: 6814: 6811: 6809: 6806: 6804: 6801: 6799: 6796: 6794: 6791: 6789: 6786: 6784: 6781: 6779: 6776: 6775: 6773: 6771: 6766: 6762: 6756: 6753: 6751: 6748: 6746: 6743: 6741: 6738: 6736: 6733: 6731: 6728: 6726: 6723: 6721: 6718: 6717: 6715: 6711: 6705: 6702: 6700: 6697: 6695: 6692: 6690: 6687: 6685: 6682: 6680: 6679:Improvisation 6677: 6675: 6672: 6670: 6667: 6665: 6662: 6660: 6657: 6655: 6652: 6651: 6649: 6645: 6637: 6634: 6633: 6632: 6629: 6627: 6624: 6623: 6620: 6617: 6615: 6612: 6610: 6607: 6605: 6602: 6601: 6598: 6595: 6593: 6590: 6588: 6585: 6583: 6580: 6578: 6575: 6573: 6570: 6568: 6565: 6563: 6560: 6558: 6555: 6553: 6552: 6548: 6546: 6543: 6541: 6538: 6536: 6533: 6532: 6530: 6528: 6524: 6520: 6513: 6508: 6506: 6501: 6499: 6494: 6493: 6490: 6478: 6475: 6473: 6470: 6468: 6465: 6463: 6460: 6459: 6456: 6452: 6445: 6440: 6438: 6433: 6431: 6426: 6425: 6422: 6410: 6400: 6398: 6395: 6393: 6390: 6388: 6385: 6384: 6381: 6375: 6374:Theory of art 6372: 6370: 6367: 6365: 6362: 6360: 6357: 6355: 6352: 6350: 6347: 6345: 6342: 6340: 6337: 6335: 6332: 6330: 6327: 6325: 6322: 6320: 6317: 6315: 6312: 6311: 6309: 6305: 6296: 6295: 6291: 6286: 6285: 6281: 6276: 6275: 6271: 6265: 6261: 6255: 6251: 6246: 6245: 6241: 6236: 6235: 6231: 6225: 6221: 6216: 6215: 6211: 6206: 6205: 6201: 6196: 6195: 6191: 6186: 6185: 6181: 6176: 6175: 6171: 6166: 6165: 6164:Hippias Major 6161: 6160: 6158: 6154: 6148: 6145: 6143: 6140: 6138: 6135: 6133: 6130: 6128: 6125: 6123: 6120: 6118: 6115: 6113: 6112: 6108: 6106: 6103: 6101: 6098: 6096: 6093: 6091: 6088: 6086: 6083: 6081: 6078: 6076: 6073: 6071: 6070: 6066: 6064: 6061: 6059: 6056: 6054: 6051: 6049: 6046: 6044: 6041: 6039: 6036: 6034: 6031: 6029: 6026: 6024: 6023:Entertainment 6021: 6019: 6016: 6014: 6011: 6009: 6006: 6004: 6001: 5999: 5996: 5994: 5991: 5989: 5986: 5984: 5981: 5979: 5976: 5972: 5969: 5967: 5964: 5963: 5962: 5959: 5957: 5954: 5952: 5949: 5947: 5946:Art manifesto 5944: 5942: 5939: 5937: 5936:Appropriation 5934: 5933: 5931: 5927: 5921: 5920: 5916: 5914: 5911: 5909: 5906: 5904: 5901: 5899: 5896: 5894: 5891: 5889: 5886: 5884: 5881: 5879: 5876: 5874: 5871: 5869: 5866: 5864: 5861: 5859: 5856: 5854: 5851: 5849: 5846: 5844: 5841: 5839: 5836: 5834: 5831: 5829: 5828:Merleau-Ponty 5826: 5824: 5821: 5819: 5816: 5814: 5811: 5809: 5806: 5804: 5801: 5799: 5796: 5794: 5791: 5789: 5786: 5784: 5781: 5779: 5776: 5774: 5771: 5769: 5766: 5764: 5761: 5759: 5756: 5754: 5751: 5749: 5746: 5744: 5741: 5739: 5736: 5734: 5731: 5729: 5726: 5724: 5721: 5719: 5716: 5714: 5711: 5709: 5706: 5704: 5701: 5699: 5696: 5694: 5691: 5689: 5686: 5684: 5681: 5679: 5676: 5674: 5671: 5669: 5666: 5664: 5661: 5659: 5656: 5654: 5651: 5649: 5646: 5644: 5643:Abhinavagupta 5641: 5640: 5638: 5634: 5628: 5627: 5623: 5621: 5618: 5616: 5613: 5611: 5608: 5606: 5603: 5601: 5598: 5596: 5595:Postmodernism 5593: 5591: 5588: 5586: 5583: 5581: 5578: 5576: 5573: 5571: 5568: 5566: 5563: 5561: 5558: 5556: 5553: 5552: 5550: 5546: 5540: 5537: 5535: 5532: 5530: 5527: 5525: 5522: 5520: 5517: 5515: 5512: 5510: 5507: 5505: 5502: 5500: 5497: 5495: 5492: 5490: 5487: 5486: 5484: 5480: 5476: 5469: 5464: 5462: 5457: 5455: 5450: 5449: 5446: 5437: 5432: 5427: 5422: 5420: 5418: 5413: 5409: 5406: 5404: 5400: 5399: 5394: 5391: 5390: 5386: 5384: 5376: 5374:0-7011-1260-3 5370: 5366: 5362: 5358: 5354: 5352:0-7486-1987-9 5348: 5344: 5339: 5335: 5331: 5327: 5325:0-8204-4489-8 5321: 5317: 5312: 5308: 5302: 5298: 5297:Greek Tragedy 5293: 5281: 5278:. Gutenberg. 5277: 5276: 5271: 5267: 5263: 5261:0-415-11894-8 5257: 5253: 5249: 5245: 5241: 5239:0-521-42383-X 5235: 5231: 5226: 5222: 5220:0-521-63987-5 5216: 5212: 5210: 5205: 5201: 5198: 5193: 5189: 5185: 5181: 5176: 5172: 5166: 5162: 5157: 5153: 5149: 5145: 5143:1-4051-0770-7 5139: 5135: 5130: 5126: 5122: 5118: 5114: 5109: 5105: 5099: 5095: 5091: 5087: 5083: 5078: 5074: 5068: 5063: 5062: 5055: 5051: 5046: 5042: 5036: 5032: 5028: 5023: 5019: 5017:0-8014-8154-6 5013: 5009: 5004: 5000: 4994: 4990: 4985: 4981: 4975: 4971: 4967: 4963: 4959: 4957:1-85984-899-0 4953: 4949: 4948: 4943: 4939: 4935: 4933:0-7190-5249-1 4929: 4925: 4921: 4917: 4913: 4911:0-521-43437-8 4907: 4902: 4901: 4894: 4890: 4886: 4882: 4878: 4876:0-87220-033-7 4872: 4868: 4863: 4859: 4854: 4842: 4838: 4834: 4830: 4825: 4824: 4819: 4812: 4807: 4804: 4800: 4795: 4792: 4788: 4783: 4780: 4776:. p. 41. 4775: 4771: 4764: 4761: 4757: 4752: 4749: 4745: 4740: 4737: 4732: 4725: 4722: 4718: 4713: 4710: 4705: 4700: 4699: 4690: 4687: 4674: 4670: 4668:9781472538604 4664: 4660: 4659: 4651: 4648: 4635: 4631: 4629:9780814209295 4625: 4621: 4620: 4612: 4609: 4596: 4592: 4590:9781351607834 4586: 4583:. Routledge. 4582: 4581: 4573: 4570: 4557: 4553: 4551:9780470691304 4547: 4543: 4542: 4534: 4531: 4518: 4514: 4510: 4503: 4500: 4487: 4483: 4479: 4473: 4470: 4457: 4453: 4449: 4442: 4439: 4426: 4422: 4418: 4411: 4408: 4404: 4391: 4387: 4383: 4376: 4373: 4369: 4357: 4353: 4349: 4342: 4339: 4326: 4322: 4318: 4314: 4310: 4306: 4302: 4298: 4294: 4290: 4286: 4281: 4273: 4270: 4266: 4260: 4257: 4254:, p. 13. 4253: 4248: 4245: 4241: 4236: 4233: 4230:, p. 41. 4229: 4224: 4221: 4218:, p. 38. 4217: 4212: 4209: 4206:, p. xi. 4205: 4200: 4197: 4193: 4188: 4185: 4172: 4168: 4162: 4158: 4154: 4150: 4146: 4141: 4133: 4130: 4127:, p. 22. 4126: 4121: 4118: 4105: 4101: 4095: 4092: 4087: 4086: 4078: 4075: 4070: 4063: 4060: 4047: 4043: 4037: 4034: 4021: 4017: 4011: 4008: 4004: 3999: 3996: 3992: 3987: 3985: 3981: 3978:, p. 49. 3977: 3972: 3969: 3966:, p. 47. 3965: 3960: 3958: 3954: 3950: 3945: 3942: 3939:, p. 43. 3938: 3933: 3931: 3927: 3922: 3918: 3914: 3910: 3906: 3902: 3898: 3891: 3888: 3884: 3879: 3876: 3872: 3867: 3864: 3859: 3857:9781350113411 3853: 3849: 3842: 3839: 3834: 3832:0-413-71650-3 3828: 3824: 3820: 3813: 3810: 3806: 3801: 3798: 3795:, p. 15. 3794: 3789: 3787: 3783: 3779: 3775: 3771: 3767: 3763: 3759: 3755: 3750: 3747: 3743: 3738: 3735: 3731: 3726: 3723: 3719: 3714: 3711: 3707: 3702: 3699: 3695: 3690: 3687: 3684:, p. 54. 3683: 3682:Goldhill 1997 3678: 3675: 3670: 3668:0-521-42351-1 3664: 3660: 3656: 3649: 3646: 3641: 3639:0-521-43437-8 3635: 3631: 3627: 3620: 3617: 3612: 3608: 3604: 3598: 3594: 3590: 3583: 3580: 3576: 3571: 3569: 3565: 3561: 3556: 3554: 3550: 3546: 3541: 3538: 3525: 3521: 3520: 3512: 3509: 3506:, p. 13. 3505: 3500: 3498: 3494: 3490: 3486: 3480: 3477: 3472: 3470:9780416720501 3466: 3462: 3455: 3452: 3448: 3443: 3440: 3436: 3431: 3429: 3425: 3421: 3416: 3413: 3409: 3404: 3401: 3397: 3396:Benjamin 1998 3392: 3389: 3385: 3380: 3378: 3374: 3370: 3369:Williams 1966 3365: 3362: 3359:, p. 16. 3358: 3357:Williams 1966 3353: 3350: 3346: 3345:Williams 1966 3341: 3338: 3334: 3330: 3329:dismemberment 3326: 3322: 3319: 3315: 3310: 3307: 3303: 3298: 3296: 3292: 3287: 3283: 3276: 3273: 3268: 3261: 3258: 3252: 3244: 3238: 3235: 3231: 3227: 3226: 3219: 3216: 3212: 3211: 3206: 3205: 3198: 3195: 3192: 3187: 3182: 3181:Ancient Greek 3178: 3175: 3171: 3168: 3167:Middle French 3164: 3161: 3156: 3153: 3146: 3142: 3139: 3137: 3134: 3132: 3129: 3127: 3124: 3123: 3119: 3113: 3108: 3103: 3101: 3096: 3091: 3089: 3085: 3081: 3077: 3073: 3069: 3065: 3061: 3054: 3050: 3046: 3042: 3040: 3036: 3033: 3031: 3027: 3023: 3022: 3021: 3018: 3016: 3012: 3008: 3002: 2997: 2995: 2994:ancient Greek 2991: 2986: 2984: 2979: 2977: 2973: 2969: 2965: 2961: 2957: 2953: 2952: 2947: 2943: 2938: 2936: 2932: 2928: 2924: 2923: 2918: 2917: 2912: 2908: 2907: 2902: 2898: 2897: 2892: 2887: 2879: 2877: 2874: 2870: 2865: 2861: 2853: 2851: 2849: 2848: 2843: 2842: 2837: 2836: 2831: 2830: 2825: 2824: 2819: 2818: 2813: 2812: 2806: 2804: 2800: 2795: 2793: 2789: 2788:Howard Barker 2785: 2784:Arthur Miller 2781: 2773: 2771: 2769: 2765: 2761: 2757: 2753: 2749: 2745: 2744:Enlightenment 2739: 2735: 2727: 2725: 2722: 2714: 2712: 2710: 2706: 2701: 2699: 2698: 2693: 2689: 2685: 2681: 2677: 2673: 2669: 2667: 2658: 2654: 2650: 2647: 2643: 2642: 2641: 2639: 2635: 2631: 2627: 2620: 2618: 2613: 2610:French actor 2608: 2602:Neo-classical 2601: 2599: 2597: 2596: 2591: 2587: 2586: 2581: 2577: 2573: 2569: 2565: 2560: 2559: 2554: 2546: 2541: 2540: 2536: 2533: 2532: 2528: 2525: 2524: 2520: 2517: 2516: 2512: 2511: 2510: 2507: 2505: 2501: 2497: 2493: 2489: 2485: 2481: 2477: 2473: 2469: 2465: 2464:Arthur Miller 2459: 2456: 2452: 2451:Ancient Greek 2447: 2445: 2441: 2437: 2431: 2423: 2419: 2418: 2414: 2412: 2411: 2407: 2406: 2405: 2403: 2397: 2396: 2392: 2390: 2389: 2385: 2384: 2383: 2381: 2374: 2373: 2369: 2367: 2366: 2362: 2360: 2359: 2355: 2353: 2352: 2348: 2346: 2345: 2341: 2339: 2338: 2334: 2332: 2331: 2327: 2325: 2324: 2323:Julius Caesar 2320: 2318: 2317: 2313: 2311: 2310: 2306: 2304: 2303: 2299: 2298: 2297: 2295: 2291: 2284: 2283: 2279: 2276: 2272: 2269: 2266: 2263: 2262: 2261: 2251: 2246: 2244: 2239: 2237: 2232: 2231: 2229: 2228: 2220: 2217: 2215: 2212: 2210: 2207: 2205: 2202: 2200: 2197: 2195: 2192: 2191: 2184: 2183: 2178: 2175: 2174: 2167: 2164: 2162: 2159: 2157: 2154: 2152: 2149: 2147: 2144: 2142: 2139: 2137: 2134: 2133: 2126: 2125: 2118: 2115: 2113: 2110: 2106: 2103: 2101: 2098: 2096: 2093: 2088: 2085: 2084: 2083: 2078: 2075: 2074: 2069: 2066: 2064: 2061: 2059: 2056: 2055: 2051: 2048: 2047: 2041: 2040: 2033: 2030: 2028: 2025: 2023: 2020: 2018: 2015: 2014: 2008: 2007: 2003: 1999: 1995: 1991: 1987: 1983: 1975: 1974: 1969: 1965: 1958: 1956: 1954: 1950: 1946: 1942: 1938: 1934: 1930: 1926: 1922: 1918: 1914: 1910: 1906: 1901: 1898: 1894: 1890: 1886: 1882: 1878: 1874: 1869: 1867: 1863: 1859: 1855: 1851: 1847: 1843: 1839: 1835: 1831: 1827: 1826: 1821: 1817: 1813: 1812: 1807: 1803: 1799: 1795: 1791: 1787: 1783: 1779: 1775: 1771: 1766: 1764: 1761: 1757: 1753: 1749: 1745: 1741: 1737: 1733: 1729: 1725: 1721: 1717: 1714: 1710: 1709:miracle plays 1706: 1702: 1698: 1697:mystery plays 1694: 1686: 1681: 1679: 1677: 1673: 1669: 1663: 1661: 1660: 1655: 1651: 1647: 1646: 1641: 1637: 1636: 1631: 1627: 1623: 1620: 1615: 1613: 1612:Lucius Accius 1609: 1605: 1600: 1596: 1592: 1588: 1584: 1580: 1579:Greek tragedy 1576: 1570: 1562: 1557: 1550: 1548: 1546: 1542: 1537: 1533: 1529: 1525: 1520: 1519: 1513: 1510: 1506: 1505: 1499: 1496: 1495: 1490: 1484: 1482: 1481: 1477:. Aeschylus' 1476: 1472: 1468: 1464: 1460: 1453: 1452:Greek tragedy 1445: 1441: 1436: 1429: 1426: 1421: 1418: 1416: 1412: 1408: 1407: 1402: 1398: 1386: 1384: 1377: 1370: 1364: 1359: 1357: 1353: 1349: 1346: 1342: 1338: 1337: 1332: 1328: 1324: 1321: 1317: 1312: 1310: 1306: 1302: 1298: 1294: 1291: 1287: 1283: 1279: 1278: 1274:= "to sing" ( 1273: 1269: 1265: 1261: 1252: 1244: 1242: 1240: 1236: 1232: 1228: 1224: 1220: 1217: 1213: 1209: 1205: 1201: 1197: 1193: 1189: 1185: 1184: 1178: 1176: 1172: 1168: 1164: 1160: 1156: 1152: 1148: 1144: 1140: 1136: 1132: 1128: 1124: 1120: 1116: 1112: 1111:postmodernist 1109: 1108:Heiner Müller 1105: 1101: 1097: 1093: 1090: 1086: 1082: 1078: 1074: 1070: 1066: 1062: 1058: 1054: 1050: 1046: 1042: 1035: 1031: 1027: 1026: 1021: 1015: 1011: 1007: 1006: 1001: 994: 990: 986: 982: 977: 971: 967: 966: 961: 957: 955: 951: 947: 943: 939: 935: 931: 927: 923: 919: 915: 911: 907: 903: 897: 891: 887: 876: 871: 869: 864: 862: 857: 856: 854: 853: 850: 840: 839: 834: 831: 829: 826: 824: 821: 819: 816: 814: 811: 809: 806: 804: 801: 800: 799: 798: 795: 791: 787: 780: 777: 776: 775: 772: 770: 767: 765: 762: 760: 757: 755: 752: 750: 747: 745: 742: 741: 740: 739: 734: 729: 726: 724: 721: 719: 716: 714: 711: 709: 706: 705: 704: 703: 700: 696: 691: 688: 686: 683: 681: 678: 676: 673: 669: 666: 664: 661: 660: 659: 656: 654: 651: 649: 646: 645: 644: 643: 638: 629: 626: 624: 621: 619: 616: 615: 614: 613: 608: 603: 600: 598: 595: 593: 590: 588: 585: 583: 580: 578: 575: 573: 570: 568: 565: 563: 560: 558: 555: 553: 550: 549: 548: 547: 544: 540: 535: 532: 530: 527: 525: 522: 520: 517: 515: 512: 511: 510: 509: 506: 502: 499: 498: 495:Poetry genres 493: 484: 481: 479: 476: 474: 471: 469: 466: 464: 461: 459: 456: 454: 451: 449: 446: 444: 441: 437: 434: 432: 429: 428: 427: 424: 423: 422: 421: 418: 414: 409: 406: 404: 401: 397: 394: 392: 389: 387: 384: 382: 379: 377: 374: 372: 369: 367: 364: 362: 359: 357: 354: 352: 349: 347: 346:coming-of-age 344: 342: 339: 338: 337: 334: 332: 329: 327: 324: 322: 319: 318: 317: 316: 313: 309: 306: 305: 300: 291: 288: 286: 283: 281: 278: 276: 275:Flash fiction 273: 271: 268: 266: 263: 261: 258: 256: 253: 251: 248: 247: 246: 245: 240: 235: 231: 228: 226: 223: 221: 218: 217: 216: 215: 210: 205: 202: 200: 197: 193: 190: 189: 188: 185: 183: 180: 176: 173: 171: 168: 167: 166: 163: 159: 156: 155: 154: 151: 150: 149: 148: 143: 138: 135: 131: 128: 126: 123: 122: 121: 118: 116: 113: 109: 106: 104: 101: 99: 96: 94: 91: 89: 86: 84: 81: 79: 76: 74: 71: 70: 69: 66: 65: 64: 63: 60: 56: 52: 48: 47: 44: 40: 37: 33: 26: 22: 7789:Drama genres 7705: 7698: 7691: 7684: 7677: 7670: 7663: 7656: 7649: 7642: 7635: 7628: 7621: 7614: 7607: 7600: 7593: 7576: 7556: 7549: 7542: 7535: 7528: 7493: 7483:Bardo Thodol 7481: 7476:Ars moriendi 7474: 7456: 7417:Architecture 7395: 7356:Funerary art 7317: 7310: 7303: 7298:Memento mori 7296: 7279: 7272: 7265: 7258: 7005:Running crew 6995:Video design 6929:Running crew 6828:Sound design 6783:Curtain Call 6704:Variety show 6673: 6631:20th century 6626:19th century 6572:Neoclassical 6549: 6462:Architecture 6292: 6282: 6272: 6242: 6232: 6212: 6202: 6192: 6182: 6172: 6162: 6141: 6109: 6085:Magnificence 6067: 5917: 5883:Schopenhauer 5718:Coomaraswamy 5636:Philosophers 5624: 5555:Aestheticism 5415: 5397: 5382: 5364: 5342: 5315: 5296: 5284:. 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Retrieved 4019: 4010: 3998: 3971: 3944: 3904: 3900: 3890: 3878: 3873:, p. 7. 3866: 3847: 3841: 3822: 3812: 3800: 3749: 3737: 3725: 3718:Taxidou 2004 3713: 3701: 3689: 3677: 3658: 3648: 3629: 3619: 3592: 3582: 3547:, p. 6. 3540: 3528:. Retrieved 3518: 3511: 3488: 3479: 3460: 3454: 3447:Pfister 1988 3442: 3435:Carlson 1993 3415: 3410:, p. 1. 3403: 3391: 3384:Taxidou 2004 3364: 3352: 3340: 3309: 3285: 3275: 3266: 3260: 3237: 3223: 3218: 3208: 3202: 3197: 3190: 3176: 3169: 3162: 3155: 3098: 3093: 3083: 3079: 3068:A.C. Bradley 3064:epistemology 3060:G.W.F. 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