The Construction of Tragedy: Hubris
Mary A. Mann, 2004 - Mimesis in literature - 228 pages
This book contains a true story of a woman who, from childhood, learned the value of money, hustled, and went into adulthood through an abundance of trials, tribulations, and even a tragedy to have money. Only to discover that the path she chose to get what she wanted was a path of destruction and trouble, with high stakes and everything to lose, including her life.
An action-packed novel that is educational, provocative, and inspirational, offering knowledge to all its readers.
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Characterits ethical nature
The consideration of the audience in determining the plays magnitude
The function of language
The aftermath of tragedy
The cosmic imbalance caused by murder and its mortal
The political structure of Denmark and the art
The ethicality of Albanys contribution to the highest
Political awareness in Albany and Cordelia Kent and
The art of personal survival in postLear Britain Edgar
Murder In The Cathedral
The mystic circle The relationship of the priests
which the play is prepared
The state of affairs in the play
The plot Its relationship to a universal truth The meaning of fidelity of correspondence through all dimensions from innerpersonal to cosmic
The energy drive of honor due to the dead as motivated by Antigone in her heightened role as sibling
The role of Teireslas seer and intermediary
The energy drive of Creons bid for power
The role of the chorus
The average mortal
The contemporary relevance of Antigone
The moment of choice for Thomas
The energy drive of More How it is affected by human
The role of the woman Her assigned importance
The natural paradigm for classical tragedy
The highest energy drive Economic growth and the will
From Franz to Hitler and back Dictatorial prevailing
The responsibility of the tragedian to portray tragic
Structuring the prepared material Deciding upon
The state of the art The importance of the study of
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Common terms and phrases
20th century able accepted action affairs affect affirmation Antigone appears approximation Aristotle assumptions attempt audience awareness becomes beginning character civilization classical Claudius code of conduct comes common concerning Condemned conduct construction contemporary Cordelia correspondence cosmic created Creon critical daughter dead death described determines deviation dimension dramatist England exists fact father follow forces Franz Gerlach give Gloucester going Goneril governance Greek Hamlet harmony Henry highest energy drive human imbalance INEVITABILITY Kent kill King Lear language Leni lives loss material mean mode mortal movement moves Murder nature occurs operation organic particular philosophy play plot Poetics political position possible potential prepared preservation prevailing primogeniture relationship relevance responsibility reveals role says scientific Seasons sense Shakespeare significant social spiritual strength structure takes thing Thomas tragedian tragedy tragic truth understanding unifier universe Werner whole
Page 66 - Would have mourn'd longer— married with my uncle, My father's brother, but no more like my father Than I to Hercules : within a month : Ere yet the salt of most unrighteous tears Had left the flushing in her galled eyes, She married. O, most wicked speed, to post With such dexterity to incestuous sheets ! It is not nor it cannot come to good : But break, my heart ; for I must hold my tongue.
Page 68 - O Hamlet, speak no more : Thou turn'st mine eyes into my very soul ; And there I see such black and grained spots As will not leave their tinct.
Page 67 - What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness?
Page 68 - Come, come, and sit you down ; you shall not budge ; You go not till I set you up a glass Where you may see the inmost part of you.
Page 67 - My father's spirit in arms ! all is not well ; I doubt some foul play: 'would, the night were come! Till then sit still, my soul : Foul deeds will rise, Though all the earth o'erwhelm them, to men's eyes.
Page 66 - gainst self-slaughter! O God! O God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world! Fie on't! O fie! 'tis an unweeded garden, That grows to seed; things rank and gross in nature Possess it merely.
Page 101 - This is the excellent foppery of the world, that, when we are sick in fortune, — often the surfeit of our own behaviour, — we make guilty of our disasters the sun, the moon, and the stars...
Page 76 - Why, look you now, how unworthy a thing you make of me! You would play upon me; you would seem to know my stops; you would pluck out the heart of my mystery; you would sound me from my lowest note to the top of my compass: and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think, I am easier to be played on than a pipe...
Page 11 - The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular.