Tragedy GreekLiterature Greek congregates three great
tragediógrafos, whose works still exist: Sófocles, Eurípedes and Ésquilo. The
moment most important of representation of
tragedies occurred during dionísias
Grandes, also called Dionísias urban, festival that had place in the
Spring, in honor of Diónisos. In this festival, as in the Dionísias agricultural
and the Leneias, the tragediógrafos concurred for a prize, generally with three
tragedies and a satirical part each. Aristotle dedicated good part of its
workmanship The Poetical one to the study and analysis of the tragedy,
that had great paper in the culture Greek and, later, occidental person.
Although descriptive, its work later was taken as prescriptive by many scholars.
Aristotle describes the
Tragedy as imitation of a complete and raised action, in
a language that has rhythm, harmony and sings. He affirms that its parts if
constitute of tickets in recited and sung verses, and in it the
personages act
directly , not having indirect story. Therefore it is called (as well as the
comedy) drama. Its function is to provoke by means of the passion and of the
fear the expurgation or purificação of the feelings (catarse). The classic
tragedy must fulfill, still
according to Aristotle, three conditions: to possess
personages of
high condition (heroes, kings, deuses), to be counted in high and
worthy language and to have a sad end, with the destruction or madness of one or
some personages sacrificed for its pride when trying to rebel itself against the
forces of the destination. Aristotle divides the tragedy in prologue, episode
and exodus. According to it, the part of the
choir if divides in pároclo and
estásimo. The order would be the prologue preceding pároclo (first entrance of
the choir), followed of five episodes alternated with them estásimos and the
conclusion with the exodus, the final intervention of the choir, that was not
sung. Although the abundant production in the seniority, the biggest part of the
tragedies Greeks did not survive until our days. The generalized impression is
of that, with the decline of Atenas as city-state, the tradition of the tragedy
vanished. The English scholar Gilbert Murray used the expression “an
imperfection of nerves” in the attempt to demonstrate that, with the decay of
the external subjects, the high described idealismo in the tragedies yielded
place to the skepticism. For another side, Friedrich Nietzsche, in its
workmanship The Birth of the Tragedy (1872), it points the optimism of
responsible Sócrates as great for deviating the attention of the Greeks of the
tragedies with respect to the philosophy. Of any form, the hellenistic period,
remain-in the little thing, with prominence for the known tragedy as
Exagoge, written for Ezequiel, a Jew of Alexandria. The Romans are
accused not to have been capable to revive the dramatical tradition, for having excessively if abided by the adaptations of the tragedies Greeks, but without
disclosing feeling the same tragic; e, therefore, had tended more to
melodrama.
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