{"id":7742,"date":"2010-01-25T00:00:29","date_gmt":"2010-01-25T04:00:29","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=7742"},"modified":"2010-01-25T00:00:29","modified_gmt":"2010-01-25T04:00:29","slug":"relgious-knowledge-lecture-16","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2010\/01\/25\/relgious-knowledge-lecture-16\/","title":{"rendered":"Relgious Knowledge, Lecture 16"},"content":{"rendered":"

\"FirstFolioMacbeth\"<\/a><\/p>\n

Macbeth, <\/em>First Folio, 1623<\/p>\n

Lecture 16. <\/strong>February 3, 1948<\/strong><\/strong><\/p>\n

ELEMENTS OF TRAGEDY<\/span><\/p>\n

Aristotle\u2019s catharsis means that the audience is not to have pity or fear.\u00a0 The correct response is: the hero is a man suffering from the tragic flaw; how very like things are. The Greek idea of fate was not external; it is the way things always happen.\u00a0 The law of human life is not moral, but a law nevertheless.<\/p>\n

Tragedy is a kind of implicit comedy.\u00a0 It is the full statement of which comedy gives only a part.\u00a0 The complete story of Bach\u2019s St. Matthew Passion<\/em> is a comedy.\u00a0 The implicit resurrection gives balance and serenity.\u00a0 Tragedy completes itself as comedy. The story of Christ has no ultimate tragedy.\u00a0 Death is a tragedy, but there is resurrection here.<\/p>\n

In other tragedies the hero dies on stage and he revives in the mind of the audience.\u00a0 Tragedy is the development of the ritual of sacrifice.\u00a0 The typical act is the death of the central figure, the king or prince in whose death the people find life.\u00a0 Aristotle\u2019s catharsis is not a moral quality.\u00a0 It casts out<\/span> pity and fear, which are moral good and moral evil.<\/p>\n

To say that Macbeth is a bad<\/span> man is the reaction of terror, of moral evil.\u00a0 Sympathy with him on the grounds of fate, his wife\u2019s influence, etc., is pity: moral sympathy with the hero.\u00a0 The real function of tragedy gets beyond moral reaction.\u00a0 The point is not whether Macbeth was good or bad.\u00a0 Tragedy goes beyond that.\u00a0 The catharsis in the audience is that the dead man on the stage is alive in them.\u00a0 The audience is united in the death of the hero.\u00a0 Modern tragedies are moral in that they stimulate sympathy or condemnation.\u00a0 Shaw\u2019s St. Joan<\/em> is moral.\u00a0 In King Lear<\/em>, though,\u00a0 his death is a release. He attempted to find divinity in his kingship and failed. He found it in suffering humanity.<\/p>\n

From the spectator\u2019s point of view, Job is funny.\u00a0 The watcher is released from the action and his perspective, therefore, is one of comedy.\u00a0 Tragedy has the reversal of perspective.\u00a0 Tragedy is a work of art seen from the spectator\u2019s point of view as entertainment<\/span>.\u00a0 Hamlet asks to be written up: Othello, the same. Tragedy has a point when limited in art form and seen by an audience.<\/p>\n

The audience\u2019s perspective is comic because they are the watchers.\u00a0 The tragic hero is unaware of the humiliation of being watched<\/span>.\u00a0 Lear is mercifully unaware of this when scampering around the stage mad.\u00a0 Hamlet feels that all eyes are upon him.\u00a0 He feels this to such a point that he takes it out on Ophelia.\u00a0 He kills Polonius because he is being watched.\u00a0 In Aeschylus\u2019 Prometheus<\/em>, he is stretched out on a rock.\u00a0 He speaks first so that people won\u2019t stare at him.\u00a0 He says, \u201cBehold the spectacle.\u201d<\/p>\n

Job sees God as an inscrutable watcher.\u00a0 In Chapter 7. he describes his fallen state\u2013\u2013no sense in what happens\u2013\u2013if there is a God who doesn\u2019t interfere, then he is merely the watcher, and this is unbearable to Job.\u00a0 Verse 11: \u201cAm I a sea or a whale that thou settest a watch over me?\u201d\u00a0 Verse 8: \u201cThe eye of him that hath seen me shall see me no more; thine eyes are upon me and I am not.\u201d\u00a0 A sense of loneliness, but of being watched.<\/p>\n

Othello\u2019s black skin means that all eyes are drawn to him.\u00a0 Here, it is subtler.\u00a0 The comforters are not making fun of Job. \u00a0But sympathy is harder to put up with then ridicule.\u00a0 Job knows God acts \u2014 but why this way?\u00a0 It worries Job.<\/p>\n

COMEDY INHERENT IN TRAGEDY<\/span><\/p>\n

The audience is imaginatively detached from the tragedy: this isn\u2019t happening to me.\u00a0 This enables the audience to get rid of pity and terror.\u00a0 When you are detached, you let the whole stream go before you.\u00a0 Comedy is inherent in tragedy because the hero is separate from the people who are watching him.\u00a0 Shakespeare has some grotesque, horrible comedy.\u00a0 The Fool and Edgar and the madness in Lear contribute to a horrible comedy.\u00a0 In Othello<\/em>, there is the sense of a comical situation that twists the neck of tragedy.\u00a0 Yet, they are a part of the fact that comedy binds up the wounds of tragedy.<\/p>\n

Job is not a tragic hero in the Shakespearean sense.\u00a0 The hero always has an aura of divinity, a man marked for this.\u00a0 Job\u2019s point is that he is not a special figure, but an ordinary observer of the law.\u00a0 Lear must go through more than Job because he has to fight his way out of kingship.\u00a0 Hamlet won\u2019t compromise and follows through the pattern of not submitting to the powers of darkness even when they are disguised as his own father.<\/p>\n

The tension in Job is that of a Platonic dialogue rather than tragedy on the stage.\u00a0 Tragedy presents a sense of lost direction; the hero never knows why he suffers.\u00a0 Job finds out.\u00a0 In Greek tragedy there is the deus ex machina<\/em>.\u00a0 In Jewish law, it is the deus in machina<\/em>, the machine of rites and ceremonies.\u00a0 From the fulfillment of the law comes the highest good of man, but the progression of ceremony and rites can mechanize life.<\/p>\n

God operates this \u201cmachinery\u201d of the world.\u00a0 In Job, God withdraws the machinery from the world.\u00a0 It is because Job refuses to let God withdraw that something eventually happens to him.<\/p>\n

The effect of the prologue is to detach God from the moral and natural law.\u00a0 He is the watcher, not the ordaining, God.\u00a0 Job is thrown into a desert world where the law doesn\u2019t operate.\u00a0 The Jewish idea of deus in machina<\/em> means \u201cdo this and you get your apple\u201d: bribe and reward, happiness is the inevitable result of virtue, and so on, because God is the First Cause, etcetera, etcetera. Then God withdraws and the rain falls on the just and the unjust\u2013\u2013the evil prosper and the good man gets it in the neck.\u00a0 Job is forced to outgrow a God that causes<\/span> things.\u00a0 Job knows that, and therefore he won\u2019t listen to the comforters.<\/p>\n

We feel that God has played Job a dirty trick, and Job feels it, too.\u00a0 He doesn\u2019t defy God; he curses the day he was born.\u00a0 Job is not given a chance to strike a pose or to look dignified; he is too busy scratching himself.\u00a0 Greek heroes suffer in dignity.\u00a0 The thing that permits dignity is the act of dying.\u00a0 But God spares Job\u2019s life.<\/p>\n

You can never work out a consoling formula about the Book of Job.\u00a0 Tragedy ignores moral order.\u00a0 The feeling exists that Job is in the Bible and therefore must be reassuring and respectable.\u00a0 The same idea is in A.C. Bradley\u2019s critical work on Shakespeare: in spite of all the horrid tragedies, Shakespeare was a good guy at heart and believes in a moral force governing the world.\u00a0 All you have to do is to read the plays to see how completely that theory is blasted.<\/p>\n

Here is God creating hell, and letting it happen in a way that creates the least sympathy for him.\u00a0 It resolves into the fact that there is no point in moral arguments at all.<\/p>\n","protected":false},"excerpt":{"rendered":"

Macbeth, First Folio, 1623 Lecture 16. February 3, 1948 ELEMENTS OF TRAGEDY Aristotle\u2019s catharsis means that the audience is not to have pity or fear.\u00a0 The correct response is: the hero is a man suffering from the tragic flaw; how very like things are. The Greek idea of fate was not external; it is the […]<\/p>\n","protected":false},"author":24,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[16,131],"tags":[],"class_list":["post-7742","post","type-post","status-publish","format-standard","hentry","category-bob-denham","category-religious-knowledge-lectures"],"yoast_head":"\nRelgious Knowledge, Lecture 16 - The Educated Imagination<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2010\/01\/25\/relgious-knowledge-lecture-16\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Relgious Knowledge, Lecture 16 - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"Macbeth, First Folio, 1623 Lecture 16. 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