Originally Posted by
Eric the Green
Yes, and I suspect these terms are yet another part of the trend here to knock us.
Why should the terms themselves be based upon the point of view of the "advancement idealists" and not ours?
It's simply the way how society in general views these things and on some level always has. The two viewpoints are diametrically opposed and like to see each other as one another's villains.
Comedic viewpoints are very earth-bound and concerned with life as it is. They don't look beyond themselves because they consider such views to be a waste of time--because what's important is the here and now, not the past and not the future, but what's of concern right now. In fact to be overly concerned with the past and the future is a crime, as it allows insane laws to rule the here and now and thus make life difficult and hard for everyone. Comedy thus concerns itself with overthrowing what it views as "insane dictatorships" or "absurd law", which don't take into consideration the consequences endured by the people "here and now". While Tragedy thinks that human faults are a crime that "holds us back from becoming gods", Comedy embraces faults as simply part of being "human", and is content with simply being human and finding strength in doing so.
Tragedies are very spiritual-bound and concerned with humanity's interaction with something greater than itself as channeled through an individual figure. They usually are obsessed with saving us from the sins of the past so that we might have a future. Tragedy often wants to be greater than it's capable of being and has difficulty accepting faults within itself--seeing them as a weakness.
You're missing the point of the tragedies though, it is by the very act of "punishment" that the wrong is righted, and we in the audience are saved or inspired to go out and continue to right the wrong--depending upon the situation. It's the act of divine retribution in some sense.
This point is made clearer if you study ancient Greek Tragedy or Japanese Noh plays which operate under the same points. Tragedies in that view is that a universal law is broken so that we might be saved perhaps not immediately, but definitely sometime in the future. I had a War Baby professor (1942 cohort) in Grad school who mad a brilliant argument for a how a Tragedy is more "life giving" than a Comedy--but then later we found out that he was so skilled he could argue the reverse as well. He was good at arguing from the viewpoint of any drama you could think of. And could be an impassioned advocate for any dramatic viewpoint that you could imagine--arguing for it and against it equally well.
The Oresteia's final play in the trilogy: The Eumenides definitely is a good example of this, as is Oedipus at Colonus. The structure of the Tragedy Trilogy is thus:
First Play - the back story of why the crime had to be committed, what was "wrong" with the past
Second Play - the crime that had to be committed and its retrubution
Third Play - how that crime was actually a good thing that led to the saving of us all
Satyr Play - a parody of the original crime
In the Oresteia here's the three plays:
Play One: The Agamemnon - Agamemnon, hot on the heels of having won at Troy returns home and is murdered by his wife Clytemnestra. Why? Because she's avenging the death of their daughter Iphigenia who was made a virginal sacrifice (as ordained by the gods) by Agamemnon so he could go to Troy in the first place. Going to Troy enriched Agamemnon and his city-state as he brought back the spoils of war, but ultimately he had to commit a crime in order to achieve that wealth (murdering his own daughter).
Play Two: The Libation Bearers - Orestes, son of Agamemnon and Clytemnestra, has to avenge his father's death by the "law of his society and the Gods" but it is a sin to commit matricide... he puzzles over what to do realizing he's damned for not avenging his father's murder by the law of his society and the Gods if he doesn't, and he's damned by the Gods if he kills his mother; ultimately he commits the crime and avenges his father by killing his mother, being punished by the Gods for the crime of matricide by having the Furies pursue him
Play Three: Orestes goes to Athens where he pleads to Athena to try his case. Athena assembles the "first murder case" and in a play that's essentially a propaganda piece for how democracy is better than monarchy, acquits Orestes of his crime (the jury is hung but Athena breaks the tie by siding with Orestes), thus Orestes crime becomes the impetus for the foundation of Democracy in Athens, the Furies are transformed from avenging beast-women spirits into kindly grandmother figures called "the Eumenides". And in that case the avenging murder society of Orestes is replaced with the justice voting society of Athens.
~Chas'88
Last edited by Chas'88; 04-23-2013 at 02:32 PM.
"There have always been people who say: "The war will be over someday." I say there's no guarantee the war will ever be over. Naturally a brief intermission is conceivable. Maybe the war needs a breather, a war can even break its neck, so to speak. But the kings and emperors, not to mention the pope, will always come to its help in adversity. ON the whole, I'd say this war has very little to worry about, it'll live to a ripe old age."