Urgently needed On Hegel s View of Tragedy 2,000 words

Hegel's view of tragedy: Hegel emphasized the inevitability of tragedy. From his philosophical point of view, he believes that tragedy arises because both sides of the tragic conflict have their own reasonable justifications, that is, each party has a reason to exist, but these two parties cannot exist at the same time, and one of them must perish and fail, so that the tragedy is inevitable.

The realization of a certain ideal is to conflict with its opposing ideal, to destroy it or to damage it, and the realization of that opposing ideal will also produce the same effect, so they are one-sided, abstract, and completely irrational. It is a dilemma in which the fulfillment of one must be done at the expense of the other. The solution to tragedy is the destruction or suffering of the characters who represent one-sided ideals.

From his personal point of view, his sacrifice seems to be innocent, but from the perspective of the entire world order, his sacrifice is deserved, enough to uphold eternal justice. Although he was personally destroyed, the ideals he represented were not destroyed by it. Therefore, although the tragic ending is a disaster and suffering, it is still a triumph of reconciliation and eternal justice.

Although the theories of tragedy of Aristotle and Hegel are broad and profound, they can only regulate the practice of tragedy in a specific period, especially Hegel's concept of tragedy is only deduced from his huge philosophical system and very individual dramatic practices, and in the face of complex tragic situations, his theories inevitably expose vulnerabilities and limitations. The tragic spirit with morality at its core will inevitably be in conflict with the later conception of tragedy, but this conflict is not a negation of Hegel, but a development and further promotion. From the above analysis, we can see that whether it is Aristotle or Hegel, the common orientation of their theories of tragedy lies in the "good", that is, they are inclined to ethics, whether it is Aristotle's "fault theory" or Hegel's "conflict theory", they are all based on ethics and morality, that is, a concern for the value of human existence conveyed in tragedy.

Although modern Western tragedy since Hegel has increasingly broken through the ethical order and framework of classical tragedy, the basic value orientation of ultimate concern for the authenticity of human existence revealed from their theories has not undergone fundamental changes, but has been promoted and paid more attention. Aristotle said that tragedy is serious. His so-called seriousness is, in essence, the ultimate concern for the authenticity of human existence; Hegel's affirmation of the moral order of tragedy also reveals the position of man's ultimate value in tragedy.

The moral and ethical core that they are concerned with is nothing more than goodness, virtue, loyalty, nobility, love, and other beautiful ideals that human beings have pursued and aspired to since ancient times, including freedom, harmony, society, the beauty of life, and tranquility. The essence and core of Western classical tragedy, which has been formed since Aristotle to Hegel, has received greater attention and deepening through the development of modern Western tragedy practice, and has been transferred to the in-depth thinking of human value and dignity at the level of existentialism. Bradley, while defending Hegel, also acknowledges that not every tragedy manifests a conflict of ethical forces.

He noted the fact that when death doomed the tragic hero to failure, the tragic hero would instead display a personality of greater and nobility than ever before. In this way, we witness the fall of the tragic figure, and our consolation comes not from the reaffirmation of the moral structure of the universe, but from the greatness of human nature that we are earnestly aware of.

In fact, Bradley has already expanded and revised Hegel's definition of tragedy here. O'Connor, in The Climate of Tragedy, also denied that plays that did not fully emphasize the "power of man" were tragedies. In The Modern Character, Crewe argues that "faith in the greatness of man" is a necessary condition for writing tragedy.

A tragic writer doesn't have to believe in God, but he must believe in people.