The Construction of Tragedy: Hubris

Jan 2004 · Mary A. Mann

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A beacon for the 21st century is an understanding of the Science of Being Altogether as practiced by the great tragic dramatists.

An integral part of the art form of tragedy is deemed to be the dramatists' adherence to the philosophy of the Science of Being Altogether where the artist becomes intuitive scientist in creating a microcosm of the universe itself. Six plays Antigone, Hamlet, King Lear, Murder in the Cathedral, A Man for All Seasons, The Condemned of Altona are analyzed in similar format

in HUBRIS, The Construction of Tragedy.

Societies and forms of government may vary but humanity itself does not change significantly. Antigone, Hamlet and Albany in King Lear are deeply aware of mortals' cosmic connection and the responsibilities resultant from it.

Hubris in human activity such as domination, exemplified by Creon in Antigone, and martyrdom extolled by More in A Man for All Seasons and Thomas in Murder in the Cathedral can be understood to be scientifically untenable and destined to be chastened or broken by the universal life force. The Condemned of Altona addresses the 20th century disconnect of human morality from cosmic harmony.

At the end of each play's analysis, a section is devoted to its contemporary relevance. Contemporary issues as fear of dialogue, domination , martyrdom, religious fervor and ideological hatred, and the slide into hopelessness all fit into patterns of human behavior that are explored in tragedy.

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