Classical Tragedies And Romantic Tragedies

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Aristotle wrote that the aim of tragedy is to douse the audience in sensations of pity and fear and bring forth catharsis, purging the body of these emotional humors and to bring forth enlightenment in the mechanics of man made gods and men. However it is safe to say that in this current era, the stories of kings and gods are no longer relatable. To understand how modern tragedy as a dramatic genre has changed, one must delve into the history of both Classical and Romantic eras to show that it’s evolution has been dependent on the needs of the people.

Classical tragedies and Romantic tragedies differ not only in their motive, conceptions of life and art and technique but are fundamentally geared towards different crowds. The greatest and possibly most overlooked difference within these two dissimilar eras is the structure of the theatre itself. The structures that housed the great works of Aeschylus, Sophocles and Euripides were grand and vast, built to accommodate many people and allow the manipulation of astonishing effects. These structures were built open to the skies giving symbolic power to Greek drama as both a national and a religious institution (Gerhard 18). The scale of the theatres were only limited by the stories of myth and legend that were steeped in the religious and cultural facets of the Greeks at the time.
Haigh states, “Greek tragedy, in its origin, has been an act of worship, performed in honour of the gods” (224) and “The continued observance of the

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