There may be spiritual waste, loss of greatness, suffering, struggles, defeat, regeneration, explicable or inexplicable evil and catharsis. It may be misery never to be loved where all the sunshine and smiles must be equally rare. There is a price to pay for the mistakes you make, to discover what you do, it will always come back to you. I could not see it before, hiding behind closed doors, when you step outside yourself, and with the face of someone else. Breaking your fall from grace and killing this empty space, like the thorn in your side it puts the dent in your pride. No one believes you now, it caught up with you somehow and you wonder what your feeling, will it never be the same? In the moments of madness under your angry skies, you are not what you feel this is insanity. From the shadows of darken, the depths of your angel eyes, knowing nothing is real this is insanity. Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; it is a class of works of art, distinguishable from all other classes, whose members possess certain common properties by virtue of which they are tragic and, hence, that these properties are necessary and sufficient, essential, or defining properties of tragedy. #RandolphHarris 1 of 9

When two noble people encounter needs must the one have the worse, like as God will suffer at that time. Passage from happiness to misery, which is worthwhile, it is not an action that necessarily ends unhappily or in death. Action leas to plot, which is the arrangement of the incidents of the story. It induces pity and fear and the tragic effect, purgation; and it may contain (as the best tragedies do) the most powerful elements of emotional interest in tragedy, namely, reversal of the situation (peripeteia) and recognition (anagnorisis). Pity is aroused by unmerited misfortune, and fear by the misfortune of one like ourselves. There is usually a range from expulsion of harmful emotions to purification of them. Tragedy, unlike epic, tends to confine itself within or nearly within the period of 24 hours. Furthermore, good lots can indicate what may happen as well as what did happen. Indeed, tragic plots determine their chief characters. Characters should manifest good moral purpose, act appropriately, be true to life, and be consistent. #RandolphHarris 2 of 9

Of him that stood in great prosperity and is y-fallen out of high degree into misery, and ended wretchedly. In order that the tragedy may achieve the tragic effect, the tragic hero must also be highly renowned and prosperous, although not eminently good or just, and in fact must display some errors of judgment or fault (hamartia) that causes his misfortune; however, he need not have any vice or depravity as the cause of his downfall. Hence, the tragic plot cannot present a virtuous man brought from prosperity, nor a bad man proceeding from adversity to prosperity, not an utter villain being defeated, for none of these inspires pity or fear. These medieval tales function as exempla which, by pointing out human’s uncertainty in possible fall from prosperity, warn all people of the fickleness of fortune, and, by ascribing the case of the fall to vice, of divine justice in the World. Tragedy not only presents evil, but explains it. Destiny, it may be,–the most skillful of stage managers,–seldom chooses to arrange its scenes, and carry forward its drama, without securing the presence of at least one calm observer. #RandolphHarris 3 of 9

English Renaissance tragedy, including that of Shakespeare, incorporates this medieval view, but also constitutes a shift from the mere presentation of the fall of princes to the justification of evil in the retribution of God against those who bring evil upon themselves in their exercise of passion. Tragedies thus become exempla of moral philosophy, admonishing people to attend to the lessons of the consequences of evil in order to avoid ruin and misery. However, they identify with their personality which can be like an addiction. These personalities styles are influenced by the media, and each has its gain as well as a price to pay. They are cultural stereotypes embedded in our culture. And these personality types also reflect group identification. People become addicted to a style even to the point of death. People cherish their image and get lost in their identification with it. These influences are unconscious and often ridged self-definitions that resist change. Renaissance theorists of tragedy fused the medieval notion of tragedies as exempla with the Aristotelian doctrine of drama as lively imitation, the latter teaching us (delightfully) how not to live. #RandolphHarris 4 of 9

Some philosophers interpret the significance of the Fall of Man differently. Without acceptance of the World, there can be no tragedy, only surrender. In spite of their scorn for the World, these medieval tales of the Fall of illustrious princes transcend moralizing about human’s evil to become absorbed emotionally and sympathetically in the sufferings of these princes. Affirmation of the grandeur of man, not denigration of him, is central to these tales of woe, and it is this affirmation that also characterizes Elizabethan tragedy, as indeed it does all tragedy. Thus, neither medieval nor Renaissance tragedy is an explanation or justification of evil; it is an espousal of life in spite of evil. To create and preserve belief in the action on the stage, strict limitations of time and place must be preserved. The audience cannot be expected to retain belief in the action if it covers years or occurs in many different places. For example, Pretty Little Liars, has gone on for over seven seasons, which is too long to make the audience accept the belief that these girls did anything worthy of being tortured for so long and they become victims, in the minds of the audience, of sometime of demonic theater that has spin out of control. #RandolphHarris 5 of 9

Also, because Pretty Little Liars has gone on for so many years, and the girls are being targeted by the mayor and media, the audience has a hard time accepting the functions of that city as a reality and start to trace the terrorism of the girls back to its source, even though they are not investigators because the corruption becomes so obvious after a while. The action of a tragedy must coincide temporally with the performance itself and that it must occur in one place on an interpretation of Aristotle’s notions of probability and necessity as verisimilitude—that is, on the way things are likely to work in nature. The stress is laid on imitation of a serious action, which is conceived of as a representation of human actions during a particular crisis of duty or honor versus love, or of passion versus will or reason. The tragic hero is not so much renowned and prosperous as he or she is noble, in the quite literal sense of belonging to the nobility. The action is confined to the crisis; no complicated or double plots are tolerated, and no mixture of the serious and the comic is allowed. Nor can there be scenes of violence on the stage. #RandolphHarris 6 of 9

We respond to these dramas, as we do to all poetry, not with belief or disbelief (delusion) but with the suspension of disbelief that constitutes poetic faith. All dramatic tragedies share the basic elements of collision and reconciliation. Ancient dramatic tragedy, however, differs from modern tragedy in regard to the modes of conflict and resolution. Because character us subordinate to ethical forces in ancient dramatic tragedy, the conflict is always two ethical principles. The conflict is between what one consciously wants to do and what one unconsciously has done. Resolution, and with it triumphant vindication of the ethical absolutely, is achieved either by the downfall of the hero, as in Antigone; the harmonization of interests, as in Eumenides; or the reconciliation in the soul of the hero, as in Oedipus at Colonus. In modern dramatic tragedy, in which the ethical forces are played down or not present at all, or other forces are at work, and the subjectivity of character is paramount, the conflict centers in the hero himself or herself. Hamlet violates morality but because his noble nature present him from acting, and this, together with external circumstances brings about doom. #RandolphHarris 7 of 9

The tragic fact in the World that is represented by dramatic tragedy, and without which there could be no such art form, is the terrible side of life—the unspeakable pain, the wail of humanity, the triumph of evil, the scornful mastery of chance, and the irretrievable fall of the just and innocent. It is this tragic fact that hints at the nature of the World, the ceaseless and futile strife of the irrational will; it also hints at the only way to escape from the struggles, namely, by the complete renunciation of the will. Man, thus, can overcome the tragedy involved in volition not by a mastery of the dialectic of negation but by only total surrender of the will to live. Well, at least that is what the architects of the conspiracy would like you to believe, so they can escape any criminal or civil liabilities. Dramatic tragedy mirrors the tragic fact of life and at the same time projects the way out. This state demonstrates that the representation of great misfortune is alone essential to tragedy. This is a greatest dramatic tragedy because it depicts the tragic fact of life, as it threatens or is actually experienced by an individual, who is neither monstrous nor placed in extraordinary circumstances, leaves the subjects and other shuddering as we feel ourselves already in the midst of Hell. #RandolphHarris 8 of 9

Thus, dramatic tragedy is a ritualistic affirmation of life. It contains calamity, but it shows the greatest in the community as others help to overcome the intense awareness of pain and evil, which is clearly revealed. The five sources of unhappy choices show that such choices are not the result of an innately perverse will, but are due rather to the various contingencies, including nature evils or deficiencies, that influence the making of choices and decision. The tragedy of regeneration is one of spiritual renewal from birth to disintegration; it symbolizes the life cycle from birth to destruction that leads to re-creation, and it is centrally tragic. The balance is destroyed when evil is denied. Tragedy includes suffering and calamity, but these need not be created and sustained by human frailty or wickedness. Love, honor, and duty can also effect suffering and catastrophe. The point is to gain an active mastery over life’s pain, which is intelligible only if tragedy glorifies human virtues. You will become everything God has created you to be, and you will have everything God intended for you to have. When you have the boldness to ask God for big things, you will see the greatness of God’s power. #RandolphHarris 9 of 9