By Henry Ansgar Kelly
'Tragedy' has been understood in a number of conflicting methods over the centuries, and the time period has been utilized to a variety of literary works. during this booklet, H. A. Kelly explores a number of the meanings given to tragedy, from Aristotle's most elementary thought (any critical tale, despite a contented ending), through Roman principles and practices, to the center a while, while Averroes thought of tragedy to be the compliment of advantage yet Albert the nice considered it because the recitation of the foul deeds of degenerate males. Professor Kelly demonstrates the significance of checking out what writers like Horace, Ovid, Dante and Chaucer intended through the time period, and the way they used it as a device of interpretation and composition. concerning a wealth of texts, he indicates that many sleek analyses of historical and medieval suggestions and works are oversimplified and infrequently lead to severe misinterpretations. The e-book ends with surveys of works specified as tragedies in England, France, Italy and Spain.
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Extra info for Ideas and Forms of Tragedy from Aristotle to the Middle Ages
Example text
P r u d e n t i u s , w h o s p e n t m o s t o f his time in his native Spain, was writing around the year 400. The deacon Romanus was martyred at Antioch in 303. 86-87 (tr. H. F. Stewart and E. K. Rand, LCL ed. 1). " Magnus Felix Ennodius, Dictio in natale Laurenti Mediolanensis episcopi, in Opera, ed. Friedrich Vogel, p. " St. Ennodius (c. 475-511) was born in Aries but reared in northern Italy. He taught rhetoric in Milan before becoming bishop of Pa via around 514. He has another figurative use of tragoedia in a letter to a religious woman named Speciosa, who may have been his former fiancee (see Opera, pp.
C. 390), actually dates from the eleventh o r twelfth century (Altaner, Patro/ogy, p. 348). It presents the Incarnation and Passion of Christ in the form of a Euripidean tragedy ( P G 38: 131-338). " Orosius undertook his history in 417 at the request of St. Augustine. 2. Though Apuleius here uses the term fabula for comedy as opposed to tragedy, the usual sense of the word in its dramatic acceptance (that is, short for fabula scaenicd) is "play," and includes tragedy. See Wilhelm Cloetta, Komddie und Tragodie im Mittelalter, p.
20. 67 O v i d , Kemedia amoris 7 5 5 . See p. 18 above. 497. 2. 69 The tragedies of love that he describes clearly presented shameful actions in a sympathetic light, and thereby gave encouragement to vice. This was most clearly the case, of course, with the farcical and licentious mime plays, and less true of the pantomime plays, or even of the full-scale comedies and tragedies which were still read in the schools. 70 Though he might agree with Ovid that the plays sometimes give rise to obscene laughter, Augustine does not have Ovid's worry that elegance of language makes vice all the more dangerous.