Tragedy - Knowledge

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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...

2816:(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'. 2618: 1011: 2735:

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.'

3101:" 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: 62: 1567: 1031: 1446: 855: 971: 7164: 7204: 7184: 987: 7194: 7174: 3123: 6415: 3028:. 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. 2705:'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, 2981:-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, 1859:, 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: 1467:

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").

2697:—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 1522:

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"...

3334:, 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 4413:

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

1596:(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 2996:—"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." 3787:. 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 6214: 3224:—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. 1753:. 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 1612:

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

4527: 3528: 2670:(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. 2793:, 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. 4181: 4667: 1010: 4605: 4644: 2651:

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-

2797:'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 4566: 3111:

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."

1252:, respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation. 7633: 3783:"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 1518:) 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 4496: 4400: 4427: 1876: 4466: 1911:

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

2599:("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. 7240: 2948:(emotional cleansing) or healing for the audience through their experience of these emotions in response to the suffering of the characters in the drama. 3218:, 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'— 1472:. 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 4851: 3082: 2445:

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,

2258: 1758: 2485:. Newly dealt with themes that sprang forth from the Domestic tragedy movement include: wrongful convictions and executions, poverty, starvation, 2278:: people are born into their situations, and do not choose them; such tragedies explore the consequences of birthrights, particularly for monarchs 1722:. 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 5422: 3599: 5436: 4366: 1855:, written around 1550 (but only published in 1587) in polymetric verse (most of it being blank hendecasyllables), dealing with the murder of 4379:

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.

6194: 1942:, etc., from the Bible, from contemporary events and from short story collections (Italian, French and Spanish). The Greek tragic authors ( 2812:

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

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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

2214: 1558:" ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event. 7784: 7233: 4550: 1554:, which served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase " 6452: 2647:(1636), was the most successful writer of French tragedies. Corneille's tragedies were strangely un-tragic (his first version of 1803:

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

2398: 999: 1974: 1950:) would become increasingly important as models by the middle of the 17th century. Important models were also supplied by the 7758: 6646: 5315: 5179: 5112: 5081: 5049: 5007: 4988: 4175: 3611: 3196: 2719: 2068: 906: 2753:

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

6572: 2156: 947:. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of 6520: 5383: 5361: 5334: 5270: 5248: 5229: 5152: 5026: 4966: 4942: 4920: 4885: 4677: 4638: 4599: 4560: 3866: 3841: 3677: 3648: 3479: 2032: 4458: 4110: 7737: 7682: 5290: 4957: 4335: 2985:, or society), but if a character's downfall is brought about by an external cause, Aristotle describes this as a 1673:, but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy. 7710: 7028: 6888: 6095: 5788: 3077:

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

7789: 7619: 7579: 1225:. Drama, in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a- 534: 7540: 2224: 2219: 1681:. Though the gods rarely appear in these plays, ghosts and witches abound. Senecan tragedies explore ideas of 931:, or a "pain awakens pleasure,” for the audience. While many cultures have developed forms that provoke this 7449: 7197: 5773: 5698: 5131: 4839: 3048:

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

2715: 2204: 1812: 1502:. The four plays sometimes featured linked stories. Only one complete trilogy of tragedies has survived, the 1153: 3836:. Methuen Classical Greek Dramatists. J. Michael Walton, introduction. London: Methuen. pp. viii, xix. 2617: 2078: 1955: 7592: 7291: 6397: 6324: 2873:(1961), contrasted two essentially different means of arriving at a definition. First is what he calls the 2533: 1291:"ode"). Scholars suspect this may be traced to a time when a goat was either the prize in a competition of 3731:, p. 104: "most scholars now call 'Greek' tragedy 'Athenian' tragedy, which is historically correct". 2801:

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

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

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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:

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

4358: 2770: 1469: 1249: 960: 876: 341: 35: 5823: 3672:. Cambridge Companions to Literature series. Cambridge: Cambridge University Press. pp. 3–5. 2711:, was criticised for not containing any deaths, Racine disputed the conventional view of tragedy. 2622: 7531: 7391: 7335: 6689: 6550: 6461: 6344: 6294: 5718: 5280: 1597: 1374:

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 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

7717: 7068: 6853: 6740: 6614: 6364: 6244: 6234: 6142: 6115: 6018: 5539: 5219: 3784: 2790: 2754: 2679:) and the success of Jean Racine from the late 1660s signalled the end of his preeminence. 2605: 2420: 2382: 2333: 2312: 1931: 1416: 1229: 1087: 524: 396: 61: 7183: 5798: 1161: 8: 7809: 7703: 7696: 7640: 7626: 7516: 7103: 7073: 7053: 6964: 6909: 6848: 6818: 6407: 6374: 6349: 6184: 6137: 6132: 5946: 5903: 5893: 5843: 5728: 5580: 5534: 5529: 5524: 5519: 5462: 5243:. European Studies in English Literature. Halliday, John trans. Cambridge: Cambridge UP. 5214: 4052: 3923: 3081:

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

4026: 2609:(1872) was to support Wagner in his claims to be a successor of the ancient dramatists. 2176: 1815:(1475–1525). Both were completed by early 1516 and are based on classical Greek models, 1677:

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

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

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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

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

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

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

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

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

1719: 1707: 1689:(1484–1558), who knew both Latin and Greek, preferred Seneca to Euripides. 1593: 1519: 1490: 1355: 1340:

provides the earliest surviving explanation for the origin of the dramatic

1296: 1292: 1241: 1222: 1202: 1177: 1125: 1091: 1075: 553: 478: 280: 180: 168: 7187: 5143:

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

4307: 7499: 6828: 6780: 6709: 6602: 6157: 6110: 5966: 5918: 5878: 5828: 5620: 4196: 3146: 3086: 2993: 2992:

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

2932: 2758: 2682: 2563: 2498: 2285: 2012: 1734: 1322:(song), because those events were first introduced during grape harvest. 1218: 1198: 1102: 1079: 1054:

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

1035: 1014: 970: 924: 700: 539: 529: 427: 270: 140: 130: 103: 7751: 5284: 4323: 4290: 4129: 3643:(Revised ed.). Cambridge: Cambridge University Press. p. 441. 1966:, many of whose works were translated and adapted for the French stage. 7511: 7356: 7277: 7270: 6775: 6577: 6127: 6105: 5998: 5783: 5743: 5703: 5570: 5485: 4669:

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

4520:"BWW Review: Cadence Theatre's RABBIT HOLE Examines Life After Tragedy" 3136: 3059: 2921: 2916: 2490: 2319: 2299:

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

1796: 1788: 1499: 1145: 1020: 690: 612: 468: 446: 88: 53: 4278:(Oxford University Press, 1980; Yale University Press, 1996), p. xiii. 7124: 7038: 6949: 6798: 6624: 6607: 6038: 6008: 5803: 5748: 5668: 5600: 5258: 5134:(1927). "Vorlesungen uber die Asthetik". In Glockner, Hermann (ed.). 3780: 3776: 3772: 3566: 3564: 3339: 3240: 3089:" and his or her "hamartia" in subsequent analyses of the Aeschylus' 3073:, the German philosopher most famous for his dialectical approach to 3021: 2969:, or as a mistake (since the original Greek etymology traces back to 2945: 2901: 2690: 2686: 2667: 2663: 2600: 2486: 2465: 2340: 1983: 1947: 1943: 1923: 1891: 1883: 1826: 1678: 1650: 1528: 1485: 1481: 1477: 1468:

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

1425: 1393: 1358: 1337: 1307: 1214: 1210: 1133: 1114: 1099: 1063: 1059: 1055: 1044: 928: 920: 833: 230: 135: 93: 3908:""Deus-Ex-Machina" reconstruction in the Athens theater of Dionysus" 3054:

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

2702: 7381: 7329: 7058: 6919: 6339: 6073: 6023: 6003: 5868: 4630:

Margaret Atwood's Textual Assassinations: Recent Poetry and Fiction

3328: 3036: 2986: 2961: 2827: 2510: 1935: 1907: 1800: 1629: 1504: 1450: 1366: 1341: 1141: 986: 723: 663: 453: 98: 78: 4760: 4721: 3905: 3561: 7396: 7340: 7302: 6529: 6482: 6477: 6100: 6058: 6043: 6013: 3243:

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

2982: 2974: 2354: 2347: 1903: 1899: 1762: 1551: 1106: 932: 572: 458: 441: 322: 290: 275: 260: 118: 5122:

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

7376: 6704: 6699: 6679: 6085: 6063: 5993: 5971: 5310:. Introductions to the Classical World. Malden, MA: Blackwell. 4591:

Christ the Tragedy of God: A Theological Exploration of Tragedy

3953: 3495: 3278:

A Comprehensive Etymological Dictionary of the English Language

3055: 3049: 2777:, which was first produced in 1755, is said to be the earliest 2714:

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

2698: 2326: 1919: 1770: 1750: 1300: 1270: 685: 658: 607: 602: 577: 562: 175: 147: 108: 5265:. Theatre Production Studies. London and New York: Routledge. 4007: 3997: 3995: 3970: 3968: 3943: 3941: 3799: 3797: 3510: 3508: 1512:

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

7386: 7361: 6694: 6664: 5858: 5454: 3734: 3502:, II, 3, 220: "Carmino qui tragico vilem certavit ob hircum". 3184: 2978: 2502: 1723: 1715: 1514: 1421: 1264: 1226: 1129: 916: 904: 582: 567: 463: 240: 192: 163: 83: 3758: 3390: 3388: 3122: 2639:, who made his mark on the world of tragedy with plays like 1934:), although plots were taken from classical authors such as 1205:) or at the scale of the drama (where tragedy is opposed to 923:

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

7401: 6079: 6053: 5091:

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

3992: 3980: 3965: 3938: 3794: 3505: 3085:", and contrasted against the Aristotelian notions of the " 3031:

According to Aristotle, there are four species of tragedy:

2956: 2952: 2941: 2937: 2924:

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

2911: 1792: 1592:. From the later years of the republic and by means of the 1362: 1188:—have analysed, speculated upon, and criticised the genre. 587: 113: 6498: 5121: 5099:(1 ed.). Cambridge University Press. pp. 54–68. 4867:——— (1974). "Poetics". In Dukore (ed.). 4202: 4135: 3252:

For more information on the ancient Roman dramatists, see

6048: 5413: 4791: 3385: 1414:

discussed the origins of Greek tragedy in his early book

1287: 597: 3581: 3579: 3373: 3349: 3338:

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

3318: 3308: 3306: 1906:, were available in Europe and the next forty years saw 2767:

The London Merchant; or, the History of George Barnwell

4998:

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

4937:(3rd ed.). London: John Calder (published 1997). 4803: 4393:"Books in Review: Froth on the Daydream by Boris Vian" 3722: 3686: 3549: 3441: 3439: 2393:, also wrote examples of tragedy in English, notably: 6265:

The Work of Art in the Age of Mechanical Reproduction

4244: 4232: 4220: 3809: 3576: 3361: 3303: 2930:, but he says that the change from good to bad as in 2415:(1580?–1635?), also wrote famous plays of the genre: 1350:, in which he argues that tragedy developed from the 1070:; through its singular articulations in the works of 5021:(expanded ed.). Ithaca and London: Cornell UP. 4880:. Translated by Janko, Richard. Cambridge: Hackett. 4815: 4256: 3887: 3746: 3710: 3400: 3118: 2453:

tragedy, in which the protagonists are of kingly or

4961:. Osborne, John trans. London and New York: Verso. 4489:"Young boy's death drives tragedy of 'Rabbit Hole'" 4208: 3451: 3436: 3412: 5201:(27 February 1949). "Tragedy and the Common Man". 5069: 5061:Dramatic Theory and Criticism: Greeks to Grotowski 4908: 4869:Dramatic Theory and Criticism: Greeks to Grotowski 4706: 4289: 4149: 3875: 3698: 3606:. Hoboken, NJ: John Wiley & Sons. p. 29. 3424: 1847:. Another of the first of all modern tragedies is 1213:era, tragedy has also been defined against drama, 5172:A Short Introduction to the Ancient Greek Theater 4359:"'The Dead All Have the Same Skin' by Boris Vian" 2307:contemporaries. Shakespeare's tragedies include: 7776: 5217:(1999) . Geuss, Raymond; Speirs, Ronald (eds.). 4713:. New York: New York University Press. pp. 4111:"Del Carrétto, Galeotto, dei marchesi di Savona" 3024:must fit the set of requirements as laid out by 1498:tragedies and a concluding comic piece called a 41:"Tragedian" redirects here. For other uses, see 6460: 2585:("tragedy in music") or some similar name; the 1791:that would later be called Italian. Drawn from 1697: 1410:fertility and burial rites has been suggested. 7248: 4082:. Vol. VIII (11th ed.). p. 503. 3600:"Tragedy and Religion: The Problem of Origins" 2769:, which was first performed in 1731. Usually, 1843:, they are in Italian and in blank (unrhymed) 1733:(1261–1329), also of Padua, in 1315 wrote the 1643:(tragedies adapted from Greek originals); his 7234: 6514: 6446: 5470: 5174:(rev ed.). University of Chicago Press. 4997: 4013: 4001: 3986: 3974: 3959: 3947: 3803: 3740: 3514: 3003:, Aristotle gave the following definition in 2288:'s error of judgement has tragic consequences 2252: 877: 6195:The Literary Mind and the Carving of Dragons 4871:. Translated by Butcher, SH. pp. 31–55. 4633:. Ohio State University Press. p. 148. 2944:within the spectators. Tragedy results in a 1659:. Historians do not know who wrote the only 979:, the classic tragedy by English playwright 7669:Self-Portrait with Death Playing the Fiddle 3861:. London: Bloomsbury Academic. p. 13. 3280:. Vol. II L–Z. Elsevier. p. 1637. 1776:(1409–1464) which dates from 1428 to 1429. 1526:Many ancient Greek tragedians employed the 7676:Skull of a Skeleton with Burning Cigarette 7241: 7227: 6521: 6507: 6453: 6439: 5477: 5463: 5434: 5428:Oxford Research Encyclopedia of Literature 5327:Drama : a guide to the study of plays 4744:. Princeton University Press. p. 178. 3097:. Hegel himself, however, in his seminal " 2259: 2245: 1745:to highlight the danger to Padua posed by 1117:meditations on death, loss and suffering; 1006:is considered a classic example of tragedy 963:and Christians, in a common activity," as 884: 870: 5213: 4875: 4866: 4850:Cambridge, MA: Harvard University Press. 4837: 4766: 4727: 4099:. Baudry's European Library. p. 212. 3827: 3764: 3663: 3585: 3570: 3555: 3324: 1783:(1478–1550) of Vicenza wrote his tragedy 5370: 5279: 5097:The Cambridge Companion to Greek Tragedy 5090: 5002:(9th, ill ed.). Allyn & Bacon. 4951: 4626: 4203:Headington, Westbrook & Barfoot 1991 4136:Headington, Westbrook & Barfoot 1991 3856: 3692: 3670:The Cambridge Companion to Greek Tragedy 3597: 3526: 3406: 3379: 3367: 3355: 3290: 2965:, which is often translated as either a 2616: 1973: 1565: 1444: 1029: 1009: 985: 969: 5351: 5286:Lectures on Dramatic Art and Literature 5238: 5036:Colón, Christine (2007). Introduction. 5016: 4975: 4894: 4797: 4425: 4287: 4238: 4226: 4168:10.1093/gmo/9781561592630.article.44040 3728: 3457: 3445: 3394: 3012:fear the purification of such emotions. 1428:from which the tragic genre developed. 27:Genre of drama based on human suffering 14: 7777: 5305: 5207: 5197: 5142: 5067: 5058: 4929: 4906: 4778: 4704: 4666:Stray, Christopher (16 October 2013). 4587: 4356: 4338:from the original on 26 September 2022 4262: 4250: 4147: 4092: 4086: 4019: 3815: 3430: 3418: 3312: 2685:'s tragedies—inspired by Greek myths, 2520:Classical Domestic tragedies include: 2399:The Tragical History of Doctor Faustus 1574:by Euripides. Roman fresco in Pompeii. 7759:Do not go gentle into that good night 7222: 6502: 6434: 5458: 5444: 5324: 5188: 5130: 5035: 4821: 4809: 4739: 4665: 4555:. John Wiley & Sons. p. 45. 4548: 4438:from the original on 23 February 2019 4214: 4141: 3881: 3752: 3716: 3634: 3275: 2784: 2720:French literature of the 17th century 1894:, as well as comedic writers such as 1811:of Trissino's friend, the Florentine 1741:, which uses the story of the tyrant 1667:(tragedies based on Roman subjects), 1023:, one of the five classic tragedy of 7173: 5257: 4854:from the original on 8 November 2013 4369:from the original on 27 January 2019 4045: 3924:10.1016/j.mechmachtheory.2013.04.010 3469: 2973:, a sporting term that refers to an 2725: 1851:, by Portuguese poet and playwright 1306:. In another view on the etymology, 1299:danced around prior to the animal's 1244:define their epic theatre projects ( 7193: 5293:from the original on 2 October 2020 5169: 5138:. Vol. 14. Stuttgart: Fromann. 4588:Taylor, Kevin (21 September 2018). 4459:"The Frontiers of American Tragedy" 4390: 4103: 3893: 3704: 2936:is preferable because this induces 2434: 1325:Writing in 335 BCE (long after the 24: 7745:Because I could not stop for Death 5435:Taplin, Oliver; Billings, Joshua. 5093:"The audience of Athenian tragedy" 4686:from the original on 23 March 2023 4647:from the original on 23 March 2023 4608:from the original on 23 March 2023 4569:from the original on 23 March 2023 4517: 4469:from the original on 9 August 2020 4456: 4426:Bernier, Kathy (3 December 2016). 4184:from the original on 13 April 2018 4071: 3472:The Semiotics of Theatre and Drama 3007:of the word "tragedy" (τραγῳδία): 1926:(and contemporary commentaries by 1369:, the god of wine and fertility): 25: 7841: 5439:(podcast). UK: Oxford University. 5397: 4958:The Origin of German Tragic Drama 4530:from the original on 11 July 2018 4499:from the original on 11 July 2018 4403:from the original on 5 April 2018 3537:from the original on 27 July 2011 2677:François Hédelin, abbé d'Aubignac 2028:16th-century Renaissance humanism 7738:And death shall have no dominion 7683:Sleep and His Half-Brother Death 7202: 7192: 7182: 7172: 7163: 7162: 6413: 5241:The Theory and Analysis of Drama 4740:Rorty, Amelie Oksenberg (1992). 3121: 2612: 2184:Dutch Renaissance and Golden Age 1541:in the first play of Aeschylus' 1277:= "goat song", which comes from 853: 60: 7785:1st-millennium BC introductions 7711:The Three Ages of Man and Death 7634:Gather Ye Rosebuds While Ye May 7203: 5378:. London: Chatto & Windus. 5354:Tragedy, Modernity and Mourning 5076:. Baltimore: Johns Hopkins UP. 4781:Landmarks of Contemporary Drama 4772: 4748: 4733: 4698: 4659: 4620: 4581: 4542: 4511: 4481: 4450: 4419: 4384: 4350: 4288:Steiner, George (Winter 2004). 4281: 4268: 3899: 3850: 3821: 3657: 3628: 3591: 3520: 3488: 3463: 3246: 3227: 3206: 2389:A contemporary of Shakespeare, 1584:Following the expansion of the 951:and historical continuity—"the 5484: 4911:The Cambridge Guide to Theatre 4876:——— (1987). 4846:. Vol. 23. Translated by 4549:Brown, Sarah (15 April 2008). 3767:, pp. 3–5, 33: [although 3641:The Cambridge Guide to Theatre 3284: 3269: 3164: 2635:For much of the 17th century, 1692: 13: 1: 7450:Capuchin catacombs of palermo 5193:. London: JM Dent & Sons. 5147:. Malden, MA: Blackwell Pub. 5044:. Chicago: Valancourd Books. 4742:Essays on Aristotle's Poetics 4672:. A&C Black. p. 78. 3602:. In Gregory, Justina (ed.). 3291:Conversi, Leonard W. (2019). 3263: 2716:French Renaissance literature 2188:Folklore of the Low Countries 1813:Giovanni di Bernardo Rucellai 1365:sung and danced in praise of 6325:Aestheticization of politics 5145:A companion to Greek tragedy 4907:Banham, Martin, ed. (1998). 4357:Sallis, James (4 May 2008). 3912:Mechanism and Machine Theory 3276:Klein, E (1967). "Tragedy". 2890: 2738: 2534:A Woman Killed with Kindness 2122: 1871:(Antonio da Pistoia); and a 1698:Influence of Greek and Roman 1649:, for example, was based on 1255: 7: 7522:The Masque of the Red Death 6528: 6462:Roman and Byzantine theatre 5356:. Edinburgh: Edinburgh UP. 4983:(repr ed.). Atlantic. 4915:. Cambridge: Cambridge UP. 4162:. Oxford University Press. 3639:. In Banham, Martin (ed.). 3114: 3099:The Phenomenology of Spirit 2864: 2581:were not called opera, but 2098:English Renaissance theatre 1993:English Renaissance theatre 1867:written in 1498 or 1508 by 1191:In the wake of Aristotle's 1000:narrative poem of same name 939:often refers to a specific 10: 7846: 5239:Pfister, Manfred (1988) . 5105:10.1017/ccol0521412455.003 5068:Felski, Rita, ed. (2008). 4830: 3771:of the 4th century judged 3604:Companion to Greek tragedy 3195: 3093:trilogy and of Sophocles' 2894: 2742: 2701:and amorous passion (like 2438: 2271:The common forms are the: 2043:16th century in literature 2033:Reformation-era propaganda 1990: 1969: 1956:Pedro Calderón de la Barca 1639:survive, all of which are 1577: 1460: 1265: 905: 43:Tragedian (disambiguation) 40: 29: 7727: 7578: 7548:Death and Transfiguration 7530: 7478: 7458: 7427: 7420: 7349: 7336:Personifications of death 7257: 7158: 7142: 7112: 7014: 6973: 6902: 6871: 6862: 6774: 6723: 6657: 6536: 6468: 6393: 6317: 6166: 5939: 5646: 5558: 5492: 5449:(online ed.). Tufts. 4981:Oxford Lectures on Poetry 4291:""Tragedy," Reconsidered" 4014:Brockett & Hildy 2003 4002:Brockett & Hildy 2003 3987:Brockett & Hildy 2003 3975:Brockett & Hildy 2003 3960:Brockett & Hildy 2003 3948:Brockett & Hildy 2003 3857:Harrison, Thomas (2019). 3804:Brockett & Hildy 2003 3741:Brockett & Hildy 2003 3527:of Naucratis, Athenaeus. 3515:Brockett & Hildy 2003 2757:and the emergence of the 2282:Tragedy of miscalculation 1839:of the same author; like 1109:' tragic vengeance & 1052:theatre of ancient Greece 7323:Sic transit gloria mundi 6814:Theatrical superstitions 5329:. New York: Peter Lang. 5281:Schlegel, August Wilhelm 5191:Greek Drama for Everyman 5017:Carlson, Marvin (1993). 3598:Scullion, Scott (2007). 3157: 3065: 3035:Complex, which involves 2779:Bürgerliches Trauerspiel 2771:Gotthold Ephraim Lessing 2566:, in the preface to his 2557: 1561: 1440: 1431:Scott Scullion writes: 1250:Theatre of the Oppressed 1050:From its origins in the 959:, in one cultural form; 36:Tragedy (disambiguation) 7555:Der Tod und das Mädchen 7392:Post-mortem photography 6345:Evolutionary aesthetics 6295:The Aesthetic Dimension 4935:Arguments for a Theatre 4844:Aristotle in 23 Volumes 4709:A Definition of Tragedy 4148:Sadler, Graham (2001). 4080:Encyclopædia Britannica 3297:Encyclopædia Britannica 2871:A Definition of Tragedy 2803:Arguments for a Theatre 2276:Tragedy of circumstance 1757:written before 1390 by 1729:(1241–1309). His pupil 1570:Scene from the tragedy 1537:is after the murder of 6809:Theatrical constraints 6275:Avant-Garde and Kitsch 6225:Lectures on Aesthetics 5352:Taxidou, Olga (2004). 5306:Sorkin, Nancy (2008). 5000:History of the theatre 4705:Mandel, Oscar (1961). 4627:Kendrick, Tom (2003). 4432:www.offthegridnews.com 4117:(in Italian). Treccani 4093:Hallam, Henry (1837). 4059:(in Italian). Treccani 4033:(in Italian). Treccani 3635:Brown, Andrew (1998). 3108: 3014: 2834:The Fault in Our Stars 2632: 2038:16th century in poetry 1988: 1987:, Cordelia's Farewell 1928:Julius Caesar Scaliger 1765:(c.1365–1441) and the 1743:Ezzelino III da Romano 1687:Julius Caesar Scaliger 1575: 1458: 1438: 1404: 1385: 1246:non-Aristotelian drama 1047: 1027: 1007: 983: 34:. For other uses, see 7790:Ancient Greek theatre 7298:Lamentation of Christ 7049:Theatrical technician 6955:Theatrical Technician 6915:Electrician (theatre) 6889:Production management 6420:Philosophy portal 5325:Styan, J. L. (2000). 4552:Tragedy in Transition 4524:www.broadwayworld.com 4308:10.1353/nlh.2004.0024 4151:"Tragédie en musique" 3103: 3009: 2895:Further information: 2822:Froth on the Daydream 2743:Further information: 2620: 2550:The Witch of Edmonton 2406:Tamburlaine the Great 2001:Shakespearean tragedy 1977: 1877:Galeotto del Carretto 1781:Gian Giorgio Trissino 1747:Cangrande della Scala 1569: 1448: 1433: 1401:Poetics, VI 1449b 2–3 1396:) to such emotions. 1389: 1371: 1041:ancient Greek tragedy 1033: 1013: 989: 973: 860:Literature portal 7718:The Triumph of Death 7620:Death and the Maiden 7292:Death and the Maiden 7252:and mortality in art 7069:Light board operator 6854:Costume construction 6365:Philosophy of design 6245:In Praise of Shadows 6235:The Critic as Artist 5263:Greek Tragic Theatre 5220:The Birth of Tragedy 5215:Nietzsche, Friedrich 5170:Ley, Graham (2007). 5126:. Arrow. p. 22. 5059:Dukore, ed. (1974). 4495:. 18 November 2009. 4296:New Literary History 4276:The Death of Tragedy 4115:Enciclopedia on line 4057:Enciclopedia on line 4053:"Mussato, Albertino" 4031:Enciclopedia on line 4027:"Lovati, Lovato de'" 3142:Tragédies en musique 2814:The Death of Tragedy 2791:modernist literature 2625:as Nero in Racine's 2606:The Birth of Tragedy 2421:The Duchess of Malfi 2383:Troilus and Cressida 2313:Antony and Cleopatra 1932:Lodovico Castelvetro 1918:and the precepts of 1865:Filostrato e Panfila 1608:. Five years later, 1417:The Birth of Tragedy 1318:(grape harvest) and 1230:deterritorialisation 945:Western civilization 634:Groups and movements 7704:The Shadow of Death 7697:The Garden of Death 7641:La Calavera Catrina 7627:Death and the Miser 7104:Wardrobe supervisor 7074:Lighting technician 6965:Wardrobe supervisor 6910:Carpenter (theatre) 6849:Theatrical property 6819:Technical rehearsal 6568:English Renaissance 6375:Philosophy of music 6350:Mathematical beauty 4779:Chiari, J. (1965). 3470:Elam, Keir (1980). 3433:: primary material. 3397:, pp. 193–209. 3239:was not written by 2989:and not a tragedy. 2897:Poetics (Aristotle) 2858:The Handmaid's Tale 2852:Requiem for a Dream 2587:tragédie en musique 2583:tragédie en musique 2542:A Yorkshire Tragedy 2391:Christopher Marlowe 2301:William Shakespeare 1836:Iphigenia in Tauris 1572:Iphigenia in Tauris 1412:Friedrich Nietzsche 1086:to the more recent 981:William Shakespeare 935:response, the term 253:Short prose fiction 156:Major written forms 18:Renaissance tragedy 7805:History of theatre 7795:Ancient inventions 7517:Hamlet's soliloquy 7440:Catacombs of Paris 7265:All flesh is grass 7208:Outline of theatre 7079:Spotlight operator 7044:Technical director 7029:Production manager 6945:Spotlight operator 6894:Company management 6884:Technical director 6573:Spanish Golden Age 6562:Commedia dell'arte 6370:Philosophy of film 6360:Patterns in nature 6330:Applied aesthetics 6305:Why Beauty Matters 6091:Life imitating art 5952:Art for art's sake 5437:"What is Tragedy?" 5222:and Other Writings 5210:, pp. 894–7). 5203:The New York Times 5189:Lucas, FL (1954). 5072:Rethinking Tragedy 4838:Aristotle (1932). 4800:, pp. 114–56. 4493:www.ocregister.com 4463:www.thecrimson.com 4156:Grove Music Online 3962:, pp. 36, 47. 3828:Euripides (1997). 3530:The deipnosophists 2904:wrote in his work 2785:Modern development 2633: 2526:Arden of Faversham 2517:, and loneliness. 2088:Metaphysical poets 1989: 1979:Edwin Austin Abbey 1952:Spanish Golden Age 1637:Seneca's tragedies 1576: 1470:Hellenistic period 1459: 1457:, 2nd century BCE. 1084:Friedrich Schiller 1048: 1028: 1025:Punjabi literature 1008: 984: 747:Lists and outlines 223:Long prose fiction 7820:Theatrical genres 7772: 7771: 7768: 7767: 7655:Pyramid of Skulls 7588:Et in Arcadia ego 7216: 7215: 7138: 7137: 6986:Lighting designer 6578:French Classicism 6496: 6495: 6428: 6427: 6380:Psychology of art 6255:Art as Experience 5372:Williams, Raymond 5317:978-1-4051-2161-3 5181:978-0-226-47761-9 5114:978-0-521-41245-2 5083:978-0-8018-8740-6 5051:978-0-9792332-0-3 5038:Six Gothic Dramas 5009:978-0-205-35878-6 4990:978-81-7156-379-1 4812:, pp. 567–8. 4391:Chapple, Tobias. 4177:978-1-56159-263-0 4016:, pp. 49–50. 3666:Easterling, P. E. 3637:"Greece, Ancient" 3613:978-1-4051-5205-1 3382:, pp. 13–84. 3358:, pp. 14–16. 2775:Miss Sara Sampson 2745:Bourgeois tragedy 2726:Later development 2577:to about that of 2573:from the time of 2507:domestic violence 2269: 2268: 1731:Albertino Mussato 1727:Lovato de' Lovati 1706:was dominated by 1630:Stoic philosopher 1602:Livius Andronicus 1354:of the leader of 1096:August Strindberg 949:cultural identity 894: 893: 646: 645: 501: 500: 308: 307: 16:(Redirected from 7837: 7830:Greek inventions 7506:Book of the Dead 7469:The Seventh Seal 7425: 7424: 7243: 7236: 7229: 7220: 7219: 7206: 7205: 7196: 7195: 7186: 7176: 7175: 7166: 7165: 7120:Musical ensemble 6981:Costume designer 6879:Stage management 6869: 6868: 6844:Set construction 6523: 6516: 6509: 6500: 6499: 6455: 6448: 6441: 6432: 6431: 6418: 6417: 6416: 6310: 6300: 6290: 6280: 6270: 6260: 6250: 6240: 6230: 6220: 6210: 6200: 6190: 6180: 5479: 5472: 5465: 5456: 5455: 5450: 5440: 5419:Toscano, Alberto 5389: 5367: 5348: 5321: 5302: 5300: 5298: 5276: 5254: 5235: 5205: 5194: 5185: 5166: 5139: 5127: 5124:Opera: a History 5118: 5087: 5075: 5064: 5055: 5032: 5013: 4994: 4972: 4953:Benjamin, Walter 4948: 4926: 4914: 4903: 4891: 4872: 4863: 4861: 4859: 4825: 4819: 4813: 4807: 4801: 4795: 4789: 4788: 4776: 4770: 4769:, Section 1135b. 4764: 4758: 4752: 4746: 4745: 4737: 4731: 4730:, Section 1452b. 4725: 4719: 4718: 4712: 4702: 4696: 4695: 4693: 4691: 4663: 4657: 4656: 4654: 4652: 4624: 4618: 4617: 4615: 4613: 4585: 4579: 4578: 4576: 4574: 4546: 4540: 4539: 4537: 4535: 4518:Bustin, Jeremy. 4515: 4509: 4508: 4506: 4504: 4485: 4479: 4478: 4476: 4474: 4454: 4448: 4447: 4445: 4443: 4423: 4417: 4416: 4410: 4408: 4388: 4382: 4381: 4376: 4374: 4354: 4348: 4347: 4345: 4343: 4293: 4285: 4279: 4274:George Steiner, 4272: 4266: 4260: 4254: 4248: 4242: 4236: 4230: 4224: 4218: 4212: 4206: 4200: 4194: 4193: 4191: 4189: 4153: 4145: 4139: 4133: 4127: 4126: 4124: 4122: 4107: 4101: 4100: 4090: 4084: 4083: 4075: 4069: 4068: 4066: 4064: 4049: 4043: 4042: 4040: 4038: 4023: 4017: 4011: 4005: 3999: 3990: 3984: 3978: 3972: 3963: 3957: 3951: 3945: 3936: 3935: 3903: 3897: 3896:, p. 33–34. 3891: 3885: 3879: 3873: 3872: 3854: 3848: 3847: 3825: 3819: 3813: 3807: 3801: 3792: 3791:—and beyond it". 3762: 3756: 3750: 3744: 3743:, pp. 32–3. 3738: 3732: 3726: 3720: 3714: 3708: 3702: 3696: 3690: 3684: 3683: 3661: 3655: 3654: 3632: 3626: 3625: 3595: 3589: 3583: 3574: 3573:, Section 1449b. 3568: 3559: 3553: 3547: 3546: 3544: 3542: 3524: 3518: 3512: 3503: 3492: 3486: 3485: 3467: 3461: 3455: 3449: 3443: 3434: 3428: 3422: 3416: 3410: 3404: 3398: 3392: 3383: 3377: 3371: 3365: 3359: 3353: 3347: 3322: 3316: 3310: 3301: 3300: 3288: 3282: 3281: 3273: 3257: 3250: 3244: 3236:Prometheus Bound 3233:The theory that 3231: 3225: 3210: 3204: 3199: 3168: 3131: 3126: 3125: 3083:tragic collision 2808:Critics such as 2637:Pierre Corneille 2495:structural abuse 2441:Domestic tragedy 2435:Domestic tragedy 2376:Titus Andronicus 2362:Romeo and Juliet 2261: 2254: 2247: 2177:Bohorič alphabet 2009: 2008: 1869:Antonio Cammelli 1853:António Ferreira 1845:hendecasyllables 1704:Medieval theatre 1665:fabula praetexta 1641:fabula crepidata 1606:Roman literature 1424:in the original 1402: 1383: 1281:= "he-goat" and 1268: 1267: 1234:mid-19th century 1128:—which includes 996:Layla and Majnun 976:Romeo and Juliet 965:Raymond Williams 915:) is a genre of 910: 909: 886: 879: 872: 858: 857: 856: 512: 511: 319: 318: 220: 219: 64: 50: 49: 21: 7845: 7844: 7840: 7839: 7838: 7836: 7835: 7834: 7815:Literary genres 7775: 7774: 7773: 7764: 7723: 7690:The Ambassadors 7574: 7526: 7474: 7454: 7416: 7345: 7253: 7247: 7217: 7212: 7154: 7134: 7108: 7094:Property master 7010: 6991:Scenic designer 6969: 6930:Property master 6898: 6858: 6834:Lighting design 6779: 6770: 6719: 6675:Musical theatre 6653: 6532: 6527: 6497: 6492: 6464: 6459: 6429: 6424: 6414: 6412: 6389: 6313: 6308: 6298: 6288: 6285:Critical Essays 6278: 6268: 6258: 6248: 6238: 6228: 6218: 6208: 6198: 6188: 6178: 6162: 5935: 5849:Ortega y Gasset 5642: 5554: 5488: 5483: 5400: 5394: 5392: 5386: 5364: 5337: 5318: 5296: 5294: 5273: 5251: 5232: 5182: 5155: 5136:Samlichte Werke 5115: 5084: 5052: 5042:Baillie, Joanna 5029: 5010: 4991: 4969: 4945: 4923: 4896:Baillie, Joanna 4888: 4857: 4855: 4833: 4828: 4820: 4816: 4808: 4804: 4796: 4792: 4777: 4773: 4765: 4761: 4753: 4749: 4738: 4734: 4726: 4722: 4703: 4699: 4689: 4687: 4680: 4664: 4660: 4650: 4648: 4641: 4625: 4621: 4611: 4609: 4602: 4586: 4582: 4572: 4570: 4563: 4547: 4543: 4533: 4531: 4516: 4512: 4502: 4500: 4487: 4486: 4482: 4472: 4470: 4455: 4451: 4441: 4439: 4424: 4420: 4406: 4404: 4397:www.litro.co.uk 4389: 4385: 4372: 4370: 4363:www.latimes.com 4355: 4351: 4341: 4339: 4286: 4282: 4273: 4269: 4261: 4257: 4249: 4245: 4237: 4233: 4225: 4221: 4213: 4209: 4201: 4197: 4187: 4185: 4178: 4146: 4142: 4134: 4130: 4120: 4118: 4109: 4108: 4104: 4091: 4087: 4077: 4076: 4072: 4062: 4060: 4051: 4050: 4046: 4036: 4034: 4025: 4024: 4020: 4012: 4008: 4000: 3993: 3985: 3981: 3973: 3966: 3958: 3954: 3946: 3939: 3904: 3900: 3892: 3888: 3880: 3876: 3869: 3855: 3851: 3844: 3826: 3822: 3814: 3810: 3802: 3795: 3763: 3759: 3751: 3747: 3739: 3735: 3727: 3723: 3715: 3711: 3703: 3699: 3691: 3687: 3680: 3662: 3658: 3651: 3633: 3629: 3614: 3596: 3592: 3584: 3577: 3569: 3562: 3554: 3550: 3540: 3538: 3525: 3521: 3513: 3506: 3493: 3489: 3482: 3468: 3464: 3456: 3452: 3444: 3437: 3429: 3425: 3417: 3413: 3405: 3401: 3393: 3386: 3378: 3374: 3366: 3362: 3354: 3350: 3323: 3319: 3315:, p. 1118. 3311: 3304: 3289: 3285: 3274: 3270: 3266: 3261: 3260: 3251: 3247: 3232: 3228: 3211: 3207: 3169: 3165: 3160: 3152:Revenge tragedy 3127: 3120: 3117: 3068: 2920:). Aristotle's 2899: 2893: 2867: 2787: 2759:bourgeois class 2751: 2741: 2728: 2615: 2596:Gesamtkunstwerk 2560: 2511:social shunning 2443: 2437: 2428:The White Devil 2369:Timon of Athens 2265: 2236: 2235: 2234: 2199: 2191: 2190: 2181: 2141: 2133: 2132: 2131: 2119: 2102: 2093: 2083: 2056: 2048: 2047: 2023: 2015:-era literature 2007: 1972: 1960:Tirso de Molina 1774:Gregorio Correr 1700: 1695: 1663:example of the 1619:Marcus Pacuvius 1582: 1580:Senecan tragedy 1564: 1556:deus ex machina 1509:12,000 people. 1465: 1443: 1403: 1400: 1384: 1382:IV, 1449a 10–15 1378: 1262:Classical Greek 1258: 1138:Saint Augustine 919:based on human 890: 854: 852: 785:Literary awards 651:Dramatic genres 392:science fiction 70:Oral literature 46: 39: 32:Tragedy (event) 28: 23: 22: 15: 12: 11: 5: 7843: 7833: 7832: 7827: 7822: 7817: 7812: 7807: 7802: 7797: 7792: 7787: 7770: 7769: 7766: 7765: 7763: 7762: 7755: 7748: 7741: 7733: 7731: 7725: 7724: 7722: 7721: 7714: 7707: 7700: 7693: 7686: 7679: 7672: 7665: 7658: 7651: 7644: 7637: 7630: 7623: 7616: 7613:Death and Life 7609: 7606:Death and Fire 7602: 7601: 7600: 7595: 7584: 7582: 7576: 7575: 7573: 7572: 7565: 7558: 7551: 7544: 7536: 7534: 7528: 7527: 7525: 7524: 7519: 7514: 7509: 7502: 7497: 7490: 7482: 7480: 7476: 7475: 7473: 7472: 7464: 7462: 7456: 7455: 7453: 7452: 7447: 7445:Sedlec Ossuary 7442: 7437: 7435:Capuchin Crypt 7431: 7429: 7422: 7418: 7417: 7415: 7414: 7409: 7404: 7399: 7394: 7389: 7384: 7379: 7374: 7369: 7364: 7359: 7353: 7351: 7347: 7346: 7344: 7343: 7338: 7333: 7326: 7319: 7312: 7305: 7300: 7295: 7288: 7281: 7274: 7267: 7261: 7259: 7255: 7254: 7246: 7245: 7238: 7231: 7223: 7214: 7213: 7211: 7210: 7200: 7190: 7180: 7170: 7159: 7156: 7155: 7153: 7152: 7146: 7144: 7140: 7139: 7136: 7135: 7133: 7132: 7127: 7122: 7116: 7114: 7110: 7109: 7107: 7106: 7101: 7096: 7091: 7089:Sound operator 7086: 7081: 7076: 7071: 7066: 7061: 7056: 7051: 7046: 7041: 7036: 7031: 7026: 7020: 7018: 7012: 7011: 7009: 7008: 7003: 7001:Sound engineer 6998: 6996:Sound designer 6993: 6988: 6983: 6977: 6975: 6971: 6970: 6968: 6967: 6962: 6960:Technical crew 6957: 6952: 6947: 6942: 6937: 6935:Pyrotechnician 6932: 6927: 6925:Make-up artist 6922: 6917: 6912: 6906: 6904: 6900: 6899: 6897: 6896: 6891: 6886: 6881: 6875: 6873: 6866: 6860: 6859: 6857: 6856: 6851: 6846: 6841: 6836: 6831: 6826: 6824:Technical week 6821: 6816: 6811: 6806: 6801: 6796: 6791: 6785: 6783: 6772: 6771: 6769: 6768: 6763: 6758: 6753: 6748: 6743: 6738: 6733: 6727: 6725: 6721: 6720: 6718: 6717: 6712: 6707: 6702: 6697: 6692: 6687: 6682: 6677: 6672: 6667: 6661: 6659: 6655: 6654: 6652: 6651: 6650: 6649: 6639: 6633: 6632: 6627: 6622: 6617: 6611: 6610: 6605: 6600: 6595: 6590: 6585: 6580: 6575: 6570: 6565: 6558: 6553: 6548: 6542: 6540: 6534: 6533: 6526: 6525: 6518: 6511: 6503: 6494: 6493: 6491: 6490: 6485: 6480: 6475: 6469: 6466: 6465: 6458: 6457: 6450: 6443: 6435: 6426: 6425: 6423: 6422: 6410: 6405: 6400: 6394: 6391: 6390: 6388: 6387: 6382: 6377: 6372: 6367: 6362: 6357: 6355:Neuroesthetics 6352: 6347: 6342: 6337: 6335:Arts criticism 6332: 6327: 6321: 6319: 6315: 6314: 6312: 6311: 6301: 6291: 6281: 6271: 6261: 6251: 6241: 6231: 6221: 6211: 6205:On the Sublime 6201: 6191: 6181: 6170: 6168: 6164: 6163: 6161: 6160: 6155: 6150: 6145: 6140: 6135: 6130: 6125: 6118: 6113: 6108: 6103: 6098: 6093: 6088: 6083: 6076: 6071: 6069:Interpretation 6066: 6061: 6056: 6051: 6046: 6041: 6036: 6031: 6026: 6021: 6016: 6011: 6006: 6001: 5996: 5991: 5986: 5985: 5984: 5979: 5969: 5964: 5962:Artistic merit 5959: 5954: 5949: 5943: 5941: 5937: 5936: 5934: 5933: 5926: 5921: 5916: 5911: 5906: 5901: 5896: 5891: 5886: 5881: 5876: 5871: 5866: 5861: 5856: 5851: 5846: 5841: 5836: 5831: 5826: 5821: 5816: 5811: 5806: 5801: 5796: 5791: 5786: 5781: 5776: 5771: 5766: 5761: 5756: 5751: 5746: 5741: 5736: 5731: 5726: 5721: 5716: 5711: 5706: 5701: 5696: 5691: 5686: 5681: 5676: 5671: 5666: 5661: 5656: 5650: 5648: 5644: 5643: 5641: 5640: 5633: 5628: 5623: 5618: 5613: 5611:Psychoanalysis 5608: 5603: 5598: 5593: 5588: 5583: 5578: 5573: 5568: 5562: 5560: 5556: 5555: 5553: 5552: 5547: 5542: 5537: 5532: 5527: 5522: 5517: 5512: 5507: 5502: 5496: 5494: 5490: 5489: 5482: 5481: 5474: 5467: 5459: 5453: 5452: 5442: 5432: 5416: 5399: 5398:External links 5396: 5391: 5390: 5384: 5376:Modern Tragedy 5368: 5362: 5349: 5335: 5322: 5316: 5303: 5277: 5271: 5255: 5249: 5236: 5230: 5211: 5199:Miller, Arthur 5195: 5186: 5180: 5167: 5153: 5140: 5128: 5119: 5113: 5088: 5082: 5065: 5056: 5050: 5033: 5027: 5014: 5008: 4995: 4989: 4973: 4967: 4949: 4943: 4931:Barker, Howard 4927: 4921: 4904: 4892: 4886: 4873: 4864: 4834: 4832: 4829: 4827: 4826: 4824:, p. 572. 4814: 4802: 4790: 4771: 4767:Aristotle 1932 4759: 4747: 4732: 4728:Aristotle 1932 4720: 4697: 4678: 4658: 4639: 4619: 4600: 4580: 4561: 4541: 4510: 4480: 4457:Meehan, Ryan. 4449: 4418: 4383: 4349: 4280: 4267: 4255: 4253:, p. 894. 4243: 4231: 4219: 4207: 4205:, p. 178. 4195: 4176: 4140: 4128: 4102: 4085: 4070: 4044: 4018: 4006: 4004:, pp. 50. 3991: 3979: 3964: 3952: 3937: 3898: 3886: 3874: 3867: 3849: 3842: 3830:"Introduction" 3820: 3818:, p. 379. 3808: 3793: 3765:Cartledge 1997 3757: 3755:, p. 444. 3745: 3733: 3721: 3719:, p. 140. 3709: 3707:, p. 206. 3697: 3685: 3678: 3656: 3649: 3627: 3612: 3590: 3586:Nietzsche 1999 3575: 3571:Aristotle 1932 3560: 3556:Aristotle 1987 3548: 3519: 3504: 3487: 3480: 3462: 3450: 3435: 3423: 3411: 3399: 3384: 3372: 3360: 3348: 3325:Nietzsche 1999 3317: 3302: 3283: 3267: 3265: 3262: 3259: 3258: 3245: 3226: 3205: 3171:Middle English 3162: 3161: 3159: 3156: 3155: 3154: 3149: 3144: 3139: 3133: 3132: 3129:Theatre portal 3116: 3113: 3067: 3064: 3063: 3062: 3052: 3046: 3043: 2967:character flaw 2892: 2889: 2866: 2863: 2810:George Steiner 2786: 2783: 2749:Augustan drama 2740: 2737: 2732:Joanna Baillie 2727: 2724: 2672: 2671: 2660: 2657: 2614: 2611: 2593:'s concept of 2591:Richard Wagner 2559: 2556: 2555: 2554: 2546: 2538: 2530: 2479:Eugene O'Neill 2439:Main article: 2436: 2433: 2432: 2431: 2424: 2410: 2409: 2402: 2387: 2386: 2379: 2372: 2365: 2358: 2351: 2344: 2337: 2330: 2323: 2316: 2297: 2296: 2289: 2279: 2267: 2266: 2264: 2263: 2256: 2249: 2241: 2238: 2237: 2233: 2232: 2227: 2222: 2217: 2212: 2207: 2201: 2200: 2197: 2196: 2193: 2192: 2180: 2179: 2174: 2169: 2164: 2159: 2154: 2149: 2143: 2142: 2139: 2138: 2135: 2134: 2130: 2125: 2120: 2118: 2113: 2108: 2103: 2101: 2100: 2091: 2090: 2084: 2082: 2081: 2076: 2071: 2065: 2064: 2063: 2057: 2054: 2053: 2050: 2049: 2046: 2045: 2040: 2035: 2030: 2024: 2021: 2020: 2017: 2016: 1971: 1968: 1857:Inês de Castro 1795:'s account of 1759:Antonio Loschi 1712:morality plays 1699: 1696: 1694: 1691: 1615:Quintus Ennius 1610:Gnaeus Naevius 1586:Roman Republic 1563: 1560: 1461:Main article: 1442: 1439: 1398: 1376: 1352:improvisations 1295:or was what a 1293:choral dancing 1275:trag(o)-aoidiā 1257: 1254: 1238:Bertolt Brecht 1236:onwards. Both 1219:the tragicomic 1111:Samuel Beckett 1004:Nizami Ganjavi 925:main character 892: 891: 889: 888: 881: 874: 866: 863: 862: 849: 848: 847: 846: 841: 836: 831: 826: 821: 816: 808: 807: 797: 796: 795: 794: 793: 792: 782: 777: 772: 767: 762: 757: 749: 748: 744: 743: 742: 741: 736: 731: 726: 721: 713: 712: 706: 705: 704: 703: 698: 693: 688: 683: 682: 681: 676: 666: 661: 653: 652: 648: 647: 644: 643: 642: 641: 636: 631: 623: 622: 618: 617: 616: 615: 610: 605: 600: 595: 590: 585: 580: 575: 570: 565: 557: 556: 550: 549: 548: 547: 542: 537: 532: 527: 519: 518: 508: 507: 503: 502: 499: 498: 497: 496: 491: 486: 481: 476: 471: 466: 461: 456: 451: 450: 449: 444: 431: 430: 424: 423: 422: 421: 416: 411: 410: 409: 404: 399: 394: 389: 384: 379: 374: 369: 364: 359: 354: 344: 339: 334: 326: 325: 315: 314: 310: 309: 306: 305: 304: 303: 298: 293: 288: 283: 278: 273: 268: 263: 255: 254: 250: 249: 248: 247: 238: 233: 225: 224: 218: 217: 212: 207: 206: 205: 195: 190: 189: 188: 183: 173: 172: 171: 158: 157: 153: 152: 151: 150: 145: 144: 143: 138: 128: 123: 122: 121: 116: 111: 106: 101: 96: 91: 86: 73: 72: 66: 65: 57: 56: 26: 9: 6: 4: 3: 2: 7842: 7831: 7828: 7826: 7823: 7821: 7818: 7816: 7813: 7811: 7808: 7806: 7803: 7801: 7798: 7796: 7793: 7791: 7788: 7786: 7783: 7782: 7780: 7760: 7756: 7753: 7749: 7746: 7742: 7739: 7735: 7734: 7732: 7730: 7726: 7720: 7719: 7715: 7713: 7712: 7708: 7706: 7705: 7701: 7699: 7698: 7694: 7692: 7691: 7687: 7685: 7684: 7680: 7678: 7677: 7673: 7671: 7670: 7666: 7664: 7663: 7659: 7657: 7656: 7652: 7650: 7649: 7645: 7643: 7642: 7638: 7636: 7635: 7631: 7629: 7628: 7624: 7622: 7621: 7617: 7615: 7614: 7610: 7608: 7607: 7603: 7599: 7596: 7594: 7591: 7590: 7589: 7586: 7585: 7583: 7581: 7577: 7571: 7570: 7566: 7564: 7563: 7559: 7557: 7556: 7552: 7550: 7549: 7545: 7543: 7542: 7541:Danse macabre 7538: 7537: 7535: 7533: 7529: 7523: 7520: 7518: 7515: 7513: 7510: 7508: 7507: 7503: 7501: 7498: 7496: 7495: 7491: 7489: 7488: 7484: 7483: 7481: 7477: 7471: 7470: 7466: 7465: 7463: 7461: 7457: 7451: 7448: 7446: 7443: 7441: 7438: 7436: 7433: 7432: 7430: 7426: 7423: 7419: 7413: 7410: 7408: 7405: 7403: 7400: 7398: 7395: 7393: 7390: 7388: 7385: 7383: 7380: 7378: 7375: 7373: 7372:Funerary text 7370: 7368: 7365: 7363: 7360: 7358: 7355: 7354: 7352: 7348: 7342: 7339: 7337: 7334: 7332: 7331: 7327: 7325: 7324: 7320: 7318: 7317: 7316:Mono no aware 7313: 7311: 7310: 7306: 7304: 7301: 7299: 7296: 7294: 7293: 7289: 7287: 7286: 7285:Danse Macabre 7282: 7280: 7279: 7275: 7273: 7272: 7268: 7266: 7263: 7262: 7260: 7256: 7251: 7244: 7239: 7237: 7232: 7230: 7225: 7224: 7221: 7209: 7201: 7199: 7191: 7189: 7185: 7181: 7179: 7171: 7169: 7161: 7160: 7157: 7151: 7148: 7147: 7145: 7143:Miscellaneous 7141: 7131: 7130:Pit orchestra 7128: 7126: 7123: 7121: 7118: 7117: 7115: 7111: 7105: 7102: 7100: 7097: 7095: 7092: 7090: 7087: 7085: 7082: 7080: 7077: 7075: 7072: 7070: 7067: 7065: 7062: 7060: 7057: 7055: 7052: 7050: 7047: 7045: 7042: 7040: 7037: 7035: 7034:Stage manager 7032: 7030: 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6594: 6591: 6589: 6586: 6584: 6581: 6579: 6576: 6574: 6571: 6569: 6566: 6564: 6563: 6559: 6557: 6554: 6552: 6549: 6547: 6544: 6543: 6541: 6539: 6535: 6531: 6524: 6519: 6517: 6512: 6510: 6505: 6504: 6501: 6489: 6486: 6484: 6481: 6479: 6476: 6474: 6471: 6470: 6467: 6463: 6456: 6451: 6449: 6444: 6442: 6437: 6436: 6433: 6421: 6411: 6409: 6406: 6404: 6401: 6399: 6396: 6395: 6392: 6386: 6385:Theory of art 6383: 6381: 6378: 6376: 6373: 6371: 6368: 6366: 6363: 6361: 6358: 6356: 6353: 6351: 6348: 6346: 6343: 6341: 6338: 6336: 6333: 6331: 6328: 6326: 6323: 6322: 6320: 6316: 6307: 6306: 6302: 6297: 6296: 6292: 6287: 6286: 6282: 6276: 6272: 6266: 6262: 6257: 6256: 6252: 6247: 6246: 6242: 6236: 6232: 6227: 6226: 6222: 6217: 6216: 6212: 6207: 6206: 6202: 6197: 6196: 6192: 6187: 6186: 6182: 6177: 6176: 6175:Hippias Major 6172: 6171: 6169: 6165: 6159: 6156: 6154: 6151: 6149: 6146: 6144: 6141: 6139: 6136: 6134: 6131: 6129: 6126: 6124: 6123: 6119: 6117: 6114: 6112: 6109: 6107: 6104: 6102: 6099: 6097: 6094: 6092: 6089: 6087: 6084: 6082: 6081: 6077: 6075: 6072: 6070: 6067: 6065: 6062: 6060: 6057: 6055: 6052: 6050: 6047: 6045: 6042: 6040: 6037: 6035: 6034:Entertainment 6032: 6030: 6027: 6025: 6022: 6020: 6017: 6015: 6012: 6010: 6007: 6005: 6002: 6000: 5997: 5995: 5992: 5990: 5987: 5983: 5980: 5978: 5975: 5974: 5973: 5970: 5968: 5965: 5963: 5960: 5958: 5957:Art manifesto 5955: 5953: 5950: 5948: 5947:Appropriation 5945: 5944: 5942: 5938: 5932: 5931: 5927: 5925: 5922: 5920: 5917: 5915: 5912: 5910: 5907: 5905: 5902: 5900: 5897: 5895: 5892: 5890: 5887: 5885: 5882: 5880: 5877: 5875: 5872: 5870: 5867: 5865: 5862: 5860: 5857: 5855: 5852: 5850: 5847: 5845: 5842: 5840: 5839:Merleau-Ponty 5837: 5835: 5832: 5830: 5827: 5825: 5822: 5820: 5817: 5815: 5812: 5810: 5807: 5805: 5802: 5800: 5797: 5795: 5792: 5790: 5787: 5785: 5782: 5780: 5777: 5775: 5772: 5770: 5767: 5765: 5762: 5760: 5757: 5755: 5752: 5750: 5747: 5745: 5742: 5740: 5737: 5735: 5732: 5730: 5727: 5725: 5722: 5720: 5717: 5715: 5712: 5710: 5707: 5705: 5702: 5700: 5697: 5695: 5692: 5690: 5687: 5685: 5682: 5680: 5677: 5675: 5672: 5670: 5667: 5665: 5662: 5660: 5657: 5655: 5654:Abhinavagupta 5652: 5651: 5649: 5645: 5639: 5638: 5634: 5632: 5629: 5627: 5624: 5622: 5619: 5617: 5614: 5612: 5609: 5607: 5606:Postmodernism 5604: 5602: 5599: 5597: 5594: 5592: 5589: 5587: 5584: 5582: 5579: 5577: 5574: 5572: 5569: 5567: 5564: 5563: 5561: 5557: 5551: 5548: 5546: 5543: 5541: 5538: 5536: 5533: 5531: 5528: 5526: 5523: 5521: 5518: 5516: 5513: 5511: 5508: 5506: 5503: 5501: 5498: 5497: 5495: 5491: 5487: 5480: 5475: 5473: 5468: 5466: 5461: 5460: 5457: 5448: 5443: 5438: 5433: 5431: 5429: 5424: 5420: 5417: 5415: 5411: 5410: 5405: 5402: 5401: 5395: 5387: 5385:0-7011-1260-3 5381: 5377: 5373: 5369: 5365: 5363:0-7486-1987-9 5359: 5355: 5350: 5346: 5342: 5338: 5336:0-8204-4489-8 5332: 5328: 5323: 5319: 5313: 5309: 5308:Greek Tragedy 5304: 5292: 5289:. Gutenberg. 5288: 5287: 5282: 5278: 5274: 5272:0-415-11894-8 5268: 5264: 5260: 5256: 5252: 5250:0-521-42383-X 5246: 5242: 5237: 5233: 5231:0-521-63987-5 5227: 5223: 5221: 5216: 5212: 5209: 5204: 5200: 5196: 5192: 5187: 5183: 5177: 5173: 5168: 5164: 5160: 5156: 5154:1-4051-0770-7 5150: 5146: 5141: 5137: 5133: 5129: 5125: 5120: 5116: 5110: 5106: 5102: 5098: 5094: 5089: 5085: 5079: 5074: 5073: 5066: 5062: 5057: 5053: 5047: 5043: 5039: 5034: 5030: 5028:0-8014-8154-6 5024: 5020: 5015: 5011: 5005: 5001: 4996: 4992: 4986: 4982: 4978: 4974: 4970: 4968:1-85984-899-0 4964: 4960: 4959: 4954: 4950: 4946: 4944:0-7190-5249-1 4940: 4936: 4932: 4928: 4924: 4922:0-521-43437-8 4918: 4913: 4912: 4905: 4901: 4897: 4893: 4889: 4887:0-87220-033-7 4883: 4879: 4874: 4870: 4865: 4853: 4849: 4845: 4841: 4836: 4835: 4823: 4818: 4811: 4806: 4799: 4794: 4787:. p. 41. 4786: 4782: 4775: 4768: 4763: 4756: 4751: 4743: 4736: 4729: 4724: 4716: 4711: 4710: 4701: 4685: 4681: 4679:9781472538604 4675: 4671: 4670: 4662: 4646: 4642: 4640:9780814209295 4636: 4632: 4631: 4623: 4607: 4603: 4601:9781351607834 4597: 4594:. Routledge. 4593: 4592: 4584: 4568: 4564: 4562:9780470691304 4558: 4554: 4553: 4545: 4529: 4525: 4521: 4514: 4498: 4494: 4490: 4484: 4468: 4464: 4460: 4453: 4437: 4433: 4429: 4422: 4415: 4402: 4398: 4394: 4387: 4380: 4368: 4364: 4360: 4353: 4337: 4333: 4329: 4325: 4321: 4317: 4313: 4309: 4305: 4301: 4297: 4292: 4284: 4277: 4271: 4265:, p. 13. 4264: 4259: 4252: 4247: 4241:, p. 41. 4240: 4235: 4229:, p. 38. 4228: 4223: 4217:, p. xi. 4216: 4211: 4204: 4199: 4183: 4179: 4173: 4169: 4165: 4161: 4157: 4152: 4144: 4138:, p. 22. 4137: 4132: 4116: 4112: 4106: 4098: 4097: 4089: 4081: 4074: 4058: 4054: 4048: 4032: 4028: 4022: 4015: 4010: 4003: 3998: 3996: 3989:, p. 49. 3988: 3983: 3977:, p. 47. 3976: 3971: 3969: 3961: 3956: 3950:, p. 43. 3949: 3944: 3942: 3933: 3929: 3925: 3921: 3917: 3913: 3909: 3902: 3895: 3890: 3883: 3878: 3870: 3868:9781350113411 3864: 3860: 3853: 3845: 3843:0-413-71650-3 3839: 3835: 3831: 3824: 3817: 3812: 3806:, p. 15. 3805: 3800: 3798: 3790: 3786: 3782: 3778: 3774: 3770: 3766: 3761: 3754: 3749: 3742: 3737: 3730: 3725: 3718: 3713: 3706: 3701: 3695:, p. 54. 3694: 3693:Goldhill 1997 3689: 3681: 3679:0-521-42351-1 3675: 3671: 3667: 3660: 3652: 3650:0-521-43437-8 3646: 3642: 3638: 3631: 3623: 3619: 3615: 3609: 3605: 3601: 3594: 3587: 3582: 3580: 3572: 3567: 3565: 3557: 3552: 3536: 3532: 3531: 3523: 3517:, p. 13. 3516: 3511: 3509: 3501: 3497: 3491: 3483: 3481:9780416720501 3477: 3473: 3466: 3459: 3454: 3447: 3442: 3440: 3432: 3427: 3420: 3415: 3408: 3407:Benjamin 1998 3403: 3396: 3391: 3389: 3381: 3380:Williams 1966 3376: 3370:, p. 16. 3369: 3368:Williams 1966 3364: 3357: 3356:Williams 1966 3352: 3345: 3341: 3340:dismemberment 3337: 3333: 3330: 3326: 3321: 3314: 3309: 3307: 3298: 3294: 3287: 3279: 3272: 3268: 3255: 3249: 3242: 3238: 3237: 3230: 3223: 3222: 3217: 3216: 3209: 3203: 3198: 3193: 3192:Ancient Greek 3189: 3186: 3182: 3179: 3178:Middle French 3175: 3172: 3167: 3163: 3153: 3150: 3148: 3145: 3143: 3140: 3138: 3135: 3134: 3130: 3124: 3119: 3112: 3107: 3102: 3100: 3096: 3092: 3088: 3084: 3080: 3076: 3072: 3061: 3057: 3053: 3051: 3047: 3044: 3042: 3038: 3034: 3033: 3032: 3029: 3027: 3023: 3019: 3013: 3008: 3006: 3005:ancient Greek 3002: 2997: 2995: 2990: 2988: 2984: 2980: 2976: 2972: 2968: 2964: 2963: 2958: 2954: 2949: 2947: 2943: 2939: 2935: 2934: 2929: 2928: 2923: 2919: 2918: 2913: 2909: 2908: 2903: 2898: 2888: 2885: 2881: 2876: 2872: 2862: 2860: 2859: 2854: 2853: 2848: 2847: 2842: 2841: 2836: 2835: 2830: 2829: 2824: 2823: 2817: 2815: 2811: 2806: 2804: 2800: 2799:Howard Barker 2796: 2795:Arthur Miller 2792: 2782: 2780: 2776: 2772: 2768: 2764: 2760: 2756: 2755:Enlightenment 2750: 2746: 2736: 2733: 2723: 2721: 2717: 2712: 2710: 2709: 2704: 2700: 2696: 2692: 2688: 2684: 2680: 2678: 2669: 2665: 2661: 2658: 2654: 2653: 2652: 2650: 2646: 2642: 2638: 2631: 2629: 2624: 2621:French actor 2619: 2613:Neo-classical 2610: 2608: 2607: 2602: 2598: 2597: 2592: 2588: 2584: 2580: 2576: 2571: 2570: 2565: 2552: 2551: 2547: 2544: 2543: 2539: 2536: 2535: 2531: 2528: 2527: 2523: 2522: 2521: 2518: 2516: 2512: 2508: 2504: 2500: 2496: 2492: 2488: 2484: 2480: 2476: 2475:Arthur Miller 2470: 2467: 2463: 2462:Ancient Greek 2458: 2456: 2452: 2448: 2442: 2430: 2429: 2425: 2423: 2422: 2418: 2417: 2416: 2414: 2408: 2407: 2403: 2401: 2400: 2396: 2395: 2394: 2392: 2385: 2384: 2380: 2378: 2377: 2373: 2371: 2370: 2366: 2364: 2363: 2359: 2357: 2356: 2352: 2350: 2349: 2345: 2343: 2342: 2338: 2336: 2335: 2334:Julius Caesar 2331: 2329: 2328: 2324: 2322: 2321: 2317: 2315: 2314: 2310: 2309: 2308: 2306: 2302: 2295: 2294: 2290: 2287: 2283: 2280: 2277: 2274: 2273: 2272: 2262: 2257: 2255: 2250: 2248: 2243: 2242: 2240: 2239: 2231: 2228: 2226: 2223: 2221: 2218: 2216: 2213: 2211: 2208: 2206: 2203: 2202: 2195: 2194: 2189: 2186: 2185: 2178: 2175: 2173: 2170: 2168: 2165: 2163: 2160: 2158: 2155: 2153: 2150: 2148: 2145: 2144: 2137: 2136: 2129: 2126: 2124: 2121: 2117: 2114: 2112: 2109: 2107: 2104: 2099: 2096: 2095: 2094: 2089: 2086: 2085: 2080: 2077: 2075: 2072: 2070: 2067: 2066: 2062: 2059: 2058: 2052: 2051: 2044: 2041: 2039: 2036: 2034: 2031: 2029: 2026: 2025: 2019: 2018: 2014: 2011: 2010: 2006: 2002: 1998: 1994: 1986: 1985: 1980: 1976: 1967: 1965: 1961: 1957: 1953: 1949: 1945: 1941: 1937: 1933: 1929: 1925: 1921: 1917: 1912: 1909: 1905: 1901: 1897: 1893: 1889: 1885: 1880: 1878: 1874: 1870: 1866: 1862: 1858: 1854: 1850: 1846: 1842: 1838: 1837: 1832: 1828: 1824: 1823: 1818: 1814: 1810: 1806: 1802: 1798: 1794: 1790: 1786: 1782: 1777: 1775: 1772: 1768: 1764: 1760: 1756: 1752: 1748: 1744: 1740: 1736: 1732: 1728: 1725: 1721: 1720:miracle plays 1717: 1713: 1709: 1708:mystery plays 1705: 1690: 1688: 1684: 1680: 1674: 1672: 1671: 1666: 1662: 1658: 1657: 1652: 1648: 1647: 1642: 1638: 1634: 1631: 1626: 1624: 1623:Lucius Accius 1620: 1616: 1611: 1607: 1603: 1599: 1595: 1591: 1590:Greek tragedy 1587: 1581: 1573: 1568: 1559: 1557: 1553: 1548: 1544: 1540: 1536: 1531: 1530: 1524: 1521: 1517: 1516: 1510: 1507: 1506: 1501: 1495: 1493: 1492: 1488:. Aeschylus' 1487: 1483: 1479: 1475: 1471: 1464: 1463:Greek tragedy 1456: 1452: 1447: 1437: 1432: 1429: 1427: 1423: 1419: 1418: 1413: 1409: 1397: 1395: 1388: 1381: 1375: 1370: 1368: 1364: 1360: 1357: 1353: 1349: 1348: 1343: 1339: 1335: 1332: 1328: 1323: 1321: 1317: 1313: 1309: 1305: 1302: 1298: 1294: 1290: 1289: 1285:= "to sing" ( 1284: 1280: 1276: 1272: 1263: 1253: 1251: 1247: 1243: 1239: 1235: 1231: 1228: 1224: 1220: 1216: 1212: 1208: 1204: 1200: 1196: 1195: 1189: 1187: 1183: 1179: 1175: 1171: 1167: 1163: 1159: 1155: 1151: 1147: 1143: 1139: 1135: 1131: 1127: 1123: 1122:postmodernist 1120: 1119:Heiner Müller 1116: 1112: 1108: 1104: 1101: 1097: 1093: 1089: 1085: 1081: 1077: 1073: 1069: 1065: 1061: 1057: 1053: 1046: 1042: 1038: 1037: 1032: 1026: 1022: 1018: 1017: 1012: 1005: 1001: 997: 993: 988: 982: 978: 977: 972: 968: 966: 962: 958: 954: 950: 946: 942: 938: 934: 930: 926: 922: 918: 914: 908: 902: 898: 887: 882: 880: 875: 873: 868: 867: 865: 864: 861: 851: 850: 845: 842: 840: 837: 835: 832: 830: 827: 825: 822: 820: 817: 815: 812: 811: 810: 809: 806: 802: 799: 798: 791: 788: 787: 786: 783: 781: 778: 776: 773: 771: 768: 766: 763: 761: 758: 756: 753: 752: 751: 750: 746: 745: 740: 737: 735: 732: 730: 727: 725: 722: 720: 717: 716: 715: 714: 711: 708: 707: 702: 699: 697: 694: 692: 689: 687: 684: 680: 677: 675: 672: 671: 670: 667: 665: 662: 660: 657: 656: 655: 654: 650: 649: 640: 637: 635: 632: 630: 627: 626: 625: 624: 620: 619: 614: 611: 609: 606: 604: 601: 599: 596: 594: 591: 589: 586: 584: 581: 579: 576: 574: 571: 569: 566: 564: 561: 560: 559: 558: 555: 552: 551: 546: 543: 541: 538: 536: 533: 531: 528: 526: 523: 522: 521: 520: 517: 514: 513: 510: 509: 506:Poetry genres 505: 504: 495: 492: 490: 487: 485: 482: 480: 477: 475: 472: 470: 467: 465: 462: 460: 457: 455: 452: 448: 445: 443: 440: 439: 438: 435: 434: 433: 432: 429: 426: 425: 420: 417: 415: 412: 408: 405: 403: 400: 398: 395: 393: 390: 388: 385: 383: 380: 378: 375: 373: 370: 368: 365: 363: 360: 358: 357:coming-of-age 355: 353: 350: 349: 348: 345: 343: 340: 338: 335: 333: 330: 329: 328: 327: 324: 321: 320: 317: 316: 312: 311: 302: 299: 297: 294: 292: 289: 287: 286:Flash fiction 284: 282: 279: 277: 274: 272: 269: 267: 264: 262: 259: 258: 257: 256: 252: 251: 246: 242: 239: 237: 234: 232: 229: 228: 227: 226: 222: 221: 216: 213: 211: 208: 204: 201: 200: 199: 196: 194: 191: 187: 184: 182: 179: 178: 177: 174: 170: 167: 166: 165: 162: 161: 160: 159: 155: 154: 149: 146: 142: 139: 137: 134: 133: 132: 129: 127: 124: 120: 117: 115: 112: 110: 107: 105: 102: 100: 97: 95: 92: 90: 87: 85: 82: 81: 80: 77: 76: 75: 74: 71: 68: 67: 63: 59: 58: 55: 52: 51: 48: 44: 37: 33: 19: 7800:Drama genres 7716: 7709: 7702: 7695: 7688: 7681: 7674: 7667: 7660: 7653: 7646: 7639: 7632: 7625: 7618: 7611: 7604: 7587: 7567: 7560: 7553: 7546: 7539: 7504: 7494:Bardo Thodol 7492: 7487:Ars moriendi 7485: 7467: 7428:Architecture 7406: 7367:Funerary art 7328: 7321: 7314: 7309:Memento mori 7307: 7290: 7283: 7276: 7269: 7016:Running crew 7006:Video design 6940:Running crew 6839:Sound design 6794:Curtain Call 6715:Variety show 6684: 6642:20th century 6637:19th century 6583:Neoclassical 6560: 6473:Architecture 6303: 6293: 6283: 6253: 6243: 6223: 6213: 6203: 6193: 6183: 6173: 6152: 6120: 6096:Magnificence 6078: 5928: 5894:Schopenhauer 5729:Coomaraswamy 5647:Philosophers 5635: 5566:Aestheticism 5426: 5408: 5393: 5375: 5353: 5326: 5307: 5295:. 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Retrieved 4030: 4021: 4009: 3982: 3955: 3915: 3911: 3901: 3889: 3884:, p. 7. 3877: 3858: 3852: 3833: 3823: 3811: 3760: 3748: 3736: 3729:Taxidou 2004 3724: 3712: 3700: 3688: 3669: 3659: 3640: 3630: 3603: 3593: 3558:, p. 6. 3551: 3539:. Retrieved 3529: 3522: 3499: 3490: 3471: 3465: 3458:Pfister 1988 3453: 3446:Carlson 1993 3426: 3421:, p. 1. 3414: 3402: 3395:Taxidou 2004 3375: 3363: 3351: 3320: 3296: 3286: 3277: 3271: 3248: 3234: 3229: 3219: 3213: 3208: 3201: 3187: 3180: 3173: 3166: 3109: 3104: 3094: 3090: 3079:A.C. Bradley 3075:epistemology 3071:G.W.F. 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