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The dramatis personae of mythical or literary tragedy are characters towards whom fate slowly reveals inevitable destruction but tragedy is not limited to the unfolding of an unavoidable fate In Hamlet tragedy extends its concerns into landscape and axial directionality Landscapes in plays of myth and literature give a specific location for imagining the moods and elements for the particular genre Axial direction refers to the aim of the plays action as in what direction is the plays action aimed The clowns at the grave much like the ghost Hamlet orient the Dane prince to the psychology of verticality and by means of homeopathic language lead young Hamlets soul into memoriaAny serious investigation of tragedy and tragedy is vested in seriousness needs to track ideational antecedents rather go into the past by means of tragedys relationship with past events Aristotle 1992 laid the first tie on the track to the modern understanding of tragedy when he wrote the following Tragedy therefore is an imitation of a worthy or illustrious and perfect action possessing magnitude in pleasing language using separately the several species of imitation in its parts by men acting and not through narration through pity and fear effecting a purification from such like passions pp 10-11 italics mineThe action of tragedy is perfect since it is inextricably tied to fate There is no way out of the circumstances except onward and further into them The magnitude that tragedy possesses is a leap out of a personal history and into the realm of mythology Theater-goers from Aristotle to present seek tragedy to witness myth which gives full place to every sort of atrocity and offers more objectivity to the study of such lives and deaths than any examination of personal motivation Hillman 19641988 p 81 Pity and fear or terror are principle emotions of the characters of Shakespeares tragedy The words Alas poor ghost Shakespeare p 894 marks Hamlets pity for the ghost and terror
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