How were the Greeks of the sixth century BC able to invent philosophy and tragedy? In this book Richard Seaford argues that a large part of the answer can be found in another momentous development, the invention and rapid spread of coinage which produced the first ever thoroughly monetised society. By transforming social relations, monetisation contributed to the ideas of the universe as an impersonal system and of the individual alienated from his own kin and from the gods. Seaford (...) argues that an important precondition for this monetisation was the Greek practice of animal sacrifice, as represented in Homeric Epic, which describes a premonetary world on the point of producing money. This book combines social history, economic anthropology, numismatics and the close reading of literary, inscriptional, and philosophical texts. Questioning the origins and shaping force of Greek philosophy, this is a major book with wide appeal. (shrink)

Skillful, sophisticated translations of two of Nietzsche's essential works about the conflict between the moral and aesthetic approaches to life, the impact of Christianity on human values, the meaning of science, the contrast between the Apollonian and Dionysian spirits, and other themes central to his thinking.

From the curator of The New York Times's "The Stone," a provocative and timely exploration into tragedy--how it articulates conflicts and contradiction that we need to address in order to better understand the world we live in. We might think we are through with the past, but the past isn't through with us. Tragedy permits us to come face to face with what we do not know about ourselves but that which makes those selves who we are. Having (...) Been Born is a compelling examination of ancient Greek origins in the development and history of tragedy--a story that represents what we thought we knew about the poets, dramatists, and philosophers of ancient Greece--and shows them to us in an unfamiliar, unexpected, and original light. (shrink)

This is a major study of conceptions of selfhood and personality in Homer and Greek Tragedy and Philosophy. The focus is on the norms of personality in Greek psychology and ethics. Gill argues that the key to understanding Greek thought of this type is to counteract the subjective and individualistic aspects of our own thinking about the person. He defines an "objective-participant" conception of personality, symbolized by the idea of the person as an interlocutor in a series of psychological (...) and ethical dialogues. (shrink)

Classic, influential study of Greek tragedy.

This title tells the story of democracy through the perspective of tragic drama. It shows how the ancient tales of greatness and its loss point to the potential dangers of democracy then and now.

Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of (...) tragedy in the Poetics. (shrink)

Nietzsche, Friedrich Wilhelm, 1844-1900. The birth of tragedy out of the spirit of music - Criticism and interpretation ; Greek drama (Tragedy) - History and criticism.

Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness of (...) history in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy. (shrink)

Boldly contesting recent scholarship, Sallis argues that The Birth of Tragedy is a rethinking of art at the limit of metaphysics. His close reading focuses on the complexity of the Apollinian/Dionysian dyad and on the crossing of these basic art impulses in tragedy. "Sallis effectively calls into question some commonly accepted and simplistic ideas about Nietzsche's early thinking and its debt to Schopenhauer, and proposes alternatives that are worth considering."--Richard Schacht, Times Literary Supplement.

Where science has often been used to explore the questions raised by art, this book does the reverse, suggesting that art can address a problem raised by science: the deep challenge to ethics posed by Darwin’s discovery that we are intentional beings living in an unintentional world. Using Hamlet, Othello, and Macbeth, among others, Angus Fletcher shows how the physical experience of art can transform Darwin’s discouraging theory into a practice-based ethics that establishes pluralism, curiosity, and cooperation as the basis (...) of progressive life. (shrink)

Considering Butler's "tragic trilogy"-a set of interventions on Sophocles' Antigone, Euripides' Bacchae, and Aeschylus's Eumenides-this book seeks to understand not just how Butler uses and interprets Greek tragedy, but also how tragedy shapes Butler's thinking, even when their gaze is directed elsewhere. Through close readings of these tragedies, this book brings to light the tragic quality of Butler's writing. It shows how Butler's mode of reading tragedy-and, crucially, reading tragically-offers a distinctive ethico-political response to the harrowing dilemmas (...) of our current moment. (shrink)

Published posthumously in 1908, Ecce Homo was written in 1888 and completed just a few weeks before Nietzsche's complete mental collapse.

Oedipus the tyrant and the limits of political rationalism -- Blind faith and enlightened statesmanship in Oedipus at colonus -- The pious heroism of Antigone -- Conclusion: Nietzsche, Plato, and Aristotle on philosophy and tragedy.

This book is a study of ancient views about 'moral luck'. It examines the fundamental ethical problem that many of the valued constituents of a well-lived life are vulnerable to factors outside a person's control, and asks how this affects our appraisal of persons and their lives. The Greeks made a profound contribution to these questions, yet neither the problems nor the Greek views of them have received the attention they deserve. This book thus recovers a central dimension of Greek (...) thought and addresses major issues in contemporary ethical theory. One of its most original aspects is its interrelated treatment of both literary and philosophical texts. The Fragility of Goodness has proven to be important reading for philosophers and classicists, and its non-technical style makes it accessible to any educated person interested in the difficult problems it tackles. This new edition features an entirely new preface by Martha Nussbaum. (shrink)

This volume brings together Seth Benardete's studies of Hesiod's Theogony, Homer's Iliad, and Greek tragedy, of eleven Platonic dialogues, and Aristotle's Metaphysics. These essays, some never before published, others difficult to find, span four decades of his work and document its impressive range. Benardete's philosophic reading of the poets and his poetic reading of the philosophers share a common ground that makes this collection a whole. The key, suggested by his reflections on Leo Strauss in the last piece, lies (...) in the question of how to read Plato. Benardete's way is characterized not just by careful attention to the literary form that separates doctrine from dialogue, and speeches from deed rather, by following the dynamic of these differences, he uncovers the argument that belongs to the dialogue as a whole. The "turnaround" such an argument undergoes bears consequences for understanding the dialogue as radical as the conversion of the philosopher in Plato's image of the cave. Benardete's original interpretations are the fruits of this discovery of the "argument of the action.". (shrink)

Introduction -- Context -- Overview of themes -- Reading the text -- Reception and influence.

Tragedy as Philosophy in the Reformation World' examines how sixteenth- and seventeenth-century poets, theologians, and humanist critics turned to tragedy to understand providence and agencies human and divine in the crucible of the Reformation. Rejecting familiar assumptions about tragedy, vital figures like Philipp Melanchthon, David Pareus, Lodovico Castelvetro, John Rainolds, and Daniel Heinsius developed distinctly philosophical ideas of tragedy,irreducible to drama or performance, inextricable from rhetoric, dialectic, and metaphysics. In its proximity to philosophy, tragedy afforded (...) careful readers crucial insight into causality, probability, necessity, and the terms of human affect and action. With these resources at hand, poets and critics produced aseries of daring and influential theses on tragedy between the 1550s and the 1630s, all directly related to pressing Reformation debates concerning providence, predestination, faith, and devotional practice. Under the influence of Aristotle's Poetics, they presented tragedy as an exacting forensic tool, enabling attentive readers to apprehend totality. And while some poets employed tragedy to render sacred history palpable with new energy and urgency, others marshalled a precise philosophicalnotion of tragedy directly against spectacle and stage-playing, endorsing anti-theatrical theses on tragedy inflected by the antique Poetics. In other words, this work illustrates the degree to which some of the influential poets and critics in the period, emphasized philosophical precision at the0expense of-even to the exclusion of-dramatic presentation. (shrink)

This study of Hegel and Nietzsche evaluates and compares their work through their common criticism of the metaphysics for operating with conceptual oppositions such as being/becoming and egoism/altruism. Dr Houlgate exposes Nietzsche's critique as employing the distinction of Life and Thought, which itself constitutes a metaphysical dualism of the kind Nietzsche attacks. By comparison Hegel is shown to provide a more profound critique of metaphysical dualism by applying his philosophy of the dialectic, which sees such alleged opposites as defining (...) components of a dynamic. In choosing to study a theme so fundamental to both philosophers' work, Houlgate has established a framework within which to evaluate the Hegel-Nietzsche debate; to make the first full study of Nietzsche's view of Hegel's work; and to compare Nietzsche's Dionysic philosophy with Hegel's dialectical philosophy by focusing on tragedy, a subject central to the philosophy of both. (shrink)

Издание адресуется специалистам в области искусствознания и всем тем, кто интересуется фундаментальными вопросами художественной жизни.

Peter Szondi´s pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the book´s two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Hölderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of (...) their specific philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic. The second part presents exemplary analyses of eight tragedies: Sophocles’Oedipus Rex, Calderon´s Life Is a Dream, Shakespeare´s Othello, Gryphius´ Leo Armenius, Racine´s Phaedra, Schiller´s Demetrius, Kleist’s The Schroffenstein Family and Büchner’s Danton's Death. The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts´ explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe. (shrink)

In this book, classicist Joshua Billings considers classical Greek drama as intellectual history. Developing an innovative approach to dramatic form as a mode of philosophical thought, Billings recasts early Greek intellectual history as a conversation across types of discourses and demonstrates the significance of dramatic reflections on widely-shared conceptual questions. He integrates evidence from tragedy, comedy, and satyr play into the development of early Greek philosophy in order to place poetry at the center of Greek thought. He (...) thus offers a substantially new history and map of classical intellectual culture: drama, on his view, appears as our best source for understanding the thought of the fifth century, while at the same time revealing significant tensions and anxieties in the development of philosophy. At the heart of the book is a novel approach to the philosophical qualities of drama. Though dramatists and their works have been considered philosophical in a variety of ways going back to antiquity, scholarly approaches have consistently taken "literature" and "philosophy" as defined categories, tracing more or less direct connections between one and the other. On the contrary, Billings argues that neither "literature" nor "philosophy" were available as stable categories in the fifth century. Rather he describes the way that drama treats issues that would come to be called philosophical, without relying on assumptions concerning what constitutes philosophical method or literary form. Drama develops a kind of method that allows it to pose and pursue conceptual questions in dramatic form which Billings describes as the "philosophical poetics" of drama. (shrink)

An introduction to ecology, focusing on a single very common wild plant and its qualities which affect a variety of animals that come in contact with it.

Introduction: Why so serious? -- The super body-politic: nationally assembling Joss Whedon's exceptional The avengers -- "He was deceived by a lie": tragedy and the dark plague of the politics of fear in George Lucas' Star wars -- Dystopian polyvalence: emancipating the mediated life from The matrix.

ABSTRACT After the tragedies of the twentieth century, the utopian impulse was subject to searching criticism by a host of liberal intellectuals including Karl Popper, Hannah Arendt, Isaiah Berlin, and Jacob Talmon. Looking to history and political philosophy, these thinkers impugned utopianism for so frequently destroying the freedoms it appeared to pursue. Defined by its theoretical contradictions, the utopian project, rooted in the politics of the Enlightenment, bore some responsibility for the totalitarianism and genocide that had shaped their (...) lives. As this critique became liberal orthodoxy, a heretic group of anarchist thinkers challenged these conclusions. While travelling some distance with the liberal critics, for Paul Goodman, Marie Louise Berneri, and Herbert Read, the twentieth century, rather than invalidating the utopian urge made its boldness and experimentalism all the more vital. Their act of heresy was defending utopianism as a central component of their anarchist critique of the present. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 227-229 [Access article in PDF] Philip Pothen. Nietzsche and the Fate of Art. Aldershot, England: Ashgate, 2002. Pp. x + 235. Paper, $29.95. Most scholarship argues that Nietzsche grants art a position of vital importance for culture, history, and philosophy. Philip Pothen seeks to challenge this general view of Nietzsche [End Page 227] while at the same time raising (...) new questions about Nietzsche's thoughts on art and how Nietzsche's views on art relate to his philosophical concerns. He does not locate Nietzsche's "deep suspicion and at times hostility" (1) toward art in a specific period of Nietzsche's thought, but instead traces it from the notebooks of the 1870s through Nietzsche's so-called "positivist period" to the very end of his productive life. The result is an honest attempt to recognize Nietzsche's ambivalent and at times hostile attitude toward that which is often times unquestionably admired.Although the Birth of Tragedy is the central text for most scholarship about Nietzsche's thoughts on art, this scholarship does not generally look to contemporaneous unpublished private writings. By conducting a close reading of Nietzsche's first published work in juxtaposition with selections from the Nachlass, Pothen shows that even as early as the 1870s, Nietzsche was developing some of the major themes of his subsequent writings on art. Nietzsche had begun to make decisive breaks with conceptual presuppositions inherited from Schopenhauer and the Kantian philosophical framework as well as from Wagner.Nietzsche's earlier belief in a rebirth of the Dionysian through works of genius such as Wagner's was severely criticized by Nietzsche himself in his 1886 Preface to the Birth of Tragedy. The second chapter of this book looks at Nietzsche's criticism of the concept of "genius" and the recognition of the "death of art" in modern artists such as Wagner. Pothen shows that Nietzsche gives a highly naturalistic account of genius, criticizing traditional notions that elevate the genius to a higher status than the merely talented artist.According to Pothen, the decadence of modern art, the deception of the artist, and the "end of art" suggests a type of "sickness" for Nietzsche. Art "represents a suppression of the instincts of becoming" (56). Pothen claims the future of art and its possible "death" are much more severe for Nietzsche than, for instance, Hegel. The challenging conclusion is that Nietzsche, not Hegel, properly announces the "death of art" in modernity.What, however, of the "monological work of art" that Nietzsche first formulates in the Gay Science? By considering the fourth part of Thus Spoke Zarathustra as a decisive conclusion and not an inferior appendage, Pothen argues that this work "for All and None" illustrates "a radical and perhaps impossible orientation" (9) that the godless artist must take up according to Nietzsche. It is a creative position "in favor of solitude [Einsamkeit], forgetting [vergessen] and inner strength" (74).Chapter four of Pothen's book addresses the concept of the "will to power." Pothen argues that it is a "metaphysical principle" of explanation that nevertheless undermines certain other metaphysical concepts such as a unified "subject" as well as traditional aesthetic concepts such as artistic autonomy. Pothen challenges Heidegger's claim that art is the "highest expression" of the will to power for Nietzsche while utilizing Heidegger's insights into art to highlight and question previous themes in the book such as the reduction of art to physiology (117-32).Chapter five concentrates on Nietzsche's analysis of the psychology of production and his critique of the Kantian themes of "disinterestedness" and the "judgment of taste." The book ends with a look at Nietzsche's final productive year of 1888. In works such as The Case of Wagner, Nietzsche, Pothen suggests, holds decadent works such as Wagner's as representative of all art produced "in the time of the death of God and the revaluation of all values" (169). For Nietzsche, modernity's inability to understand its own time might "herald the death or the end of this art of works... (shrink)

L'Origine de la Tragédie (Die Geburt der Tragödie) est une œuvre du philosophe allemand Friedrich Nietzsche, qu’il publia en 1872 à l’âge de 28 ans. La première traduction française de cet ouvrage: "L’Origine de la Tragédie dans la musique ou Hellénisme et Pessimisme" traduit "Geburt" avec le mot "Origine", alors que les traductions suivantes utiliseront le mot "Naissance". L'ouvrage développe la thèse selon laquelle deux grandes forces opposées gouvernent l'art : le dionysiaque et l'apollinien. Ces deux forces, unies un temps (...) dans la tragédie grecque, auraient été à nouveau séparées par le triomphe de la rationalité avec Euripide et Socrate. Nietzsche espérait alors retrouver l'union du dionysiaque et de l'apollinien chez Wagner à qui est dédiée la Naissance de la tragédie : « Nous aurons beaucoup fait pour la science esthétique, quand nous en serons arrivé non seulement à l’observation logique, mais encore à la certitude immédiate de cette prise de position selon laquelle le développement de l’art est liée à la dualité du dionysien et de l’apollinien : de la même manière que la dualité des sexes engendre la vie au milieu de luttes continuelles et par des rapprochements seulement périodiques. ». (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.1 (2001) 1-16 [Access article in PDF] The Plot of History from Antiquity to the Renaissance Eric MacPhail In the Poetics Aristotle introduced the notion of plot or mythos as a distinctly poetic form of rationality and coherence absent from history. In the course of antiquity and the Renaissance Aristotle's notion of plot underwent a curious inversion by which (...) class='Hi'>history came to supplant poetry as the main literary form of emplotment. To account for the readjustment or even reversal of Aristotle's distinction between history and poetry, we will examine the notions of order, causality, and chance expounded by classical historians and literary theorists before tracing their influence to Renaissance writers. In the Renaissance the transmission, conflation, and distortion of Aristotelian doctrine exerted a profound influence on historiography and literary criticism, particularly in the latter part of the sixteenth century. It is even possible to understand some of the new and hybrid forms of Renaissance fiction as a reaction to this transference of the idea of plot from poetry to history. While history may indeed possess no coherent plot, as Aristotle speculated, literary history can nevertheless reconstitute the genealogy of competing notions of plot and order in Renaissance narrative.We can situate Aristotle's definition of plot in the context of his inquiry into cause and coincidence. In book two of the Physics Aristotle proposes a rigorous typology of cause, distinguishing between formal, material, efficient, and final causes, and he also considers the status of chance and fortune as accidental causes or aitia kata symbebekos (197a5-6). 1 The Metaphysics takes up the question of to kata symbebekos, translated alternately as accident or coincidence, and in doing so develops several arguments that pertain to the treatment of plot in the Poetics and to the larger issue of the coherence of fiction and history. As Richard Sorabji points out, the key to Aristotle's notion of coincidence is the [End Page 1] paradox of existence without genesis or without coming into being. 2 Metaphysics VI, 2 maintains that "of things which are in other senses there is generation and destruction [genesis kai phthora], but of things which are accidentally [kata symbebekos] there is not" (1026b24). Metaphysics VI, 3 argues that if this were not so, if nothing existed without genesis, then everything would be of necessity in the sense that every future event could be traced back to a present cause. Genesis thus seems to signify an unbroken chain of causes while to symbebekotos, the coincidental, represents a break in the causal chain. For Aristotle the coincidental or the fortuitous "goes back to some starting point (arche), which does not go back to something else" (1027b12-14). A coincidence is an uncaused cause.Aristotle's Poetics furnishes a definition of plot or mythos that provides a link between the metaphysical discussion of cause and the fictional inquiry into chance. For Aristotle the dramatic plot is the integration of various actions, or synthesis ton pragmaton (1450a5), into a whole or olon consisting of a beginning, a middle, and an end (1450b27). The unity of action does not admit of any accidents within the plot as it moves continuously from beginning to middle to end, and yet the plot as a whole exemplifies the metaphysical notion of a coincidence. Aristotle defines the beginning of the plot or the arche as "that which does not itself follow anything by causal necessity but after which something naturally is or comes to be" (1450b28-29). Thus the mythos, like the coincidence, originates in an uncaused cause, that scandal abhorred by rationalism. Aristotle further complicates the question of causality when he denies to historical events the type of probability or necessity that he associates with dramatic actions. Chapter 23 of the Poetics exhorts the epic poet to emulate tragedy and shun the example of histories (1459a17-22), for while historical events may possess a chronological unity, they do not form any causal chain and thus do not exhibit any unity of action.In chapter 9 of the Poetics Aristotle... (shrink)

Nietzsche's Critique of Staticism Manuel Dries Part 1: Time, History, Method Nietzsche's Cultural Criticism and his Historical Methodology 23 Andrea Orsucci Thucydides, Nietzsche, and Williams 35 Raymond Geuss The Late Nietzsche's Fundamental Critique of Historical Scholarship 51 Thomas H. Brobjer Part II: Genealogy, Time, Becoming Nietzsche's Timely Genealogy: An Exercise in Anti-Reductionist Naturalism 63 Tinneke Beeckman From Kantian Temporality to Nietzschean Naturalism 75 R. Kevin Hill Nietzsche's Problem of the Past 87 John Richardson Towards Adualism: Becoming and Nihilism (...) in Nietzsche's Philosophy 113 Mamuel Dries Part III: Eternal Recurrence, Meaning, Agency Shocking Time: Reading Eternal Recurrence Literally 149 Lawrence J. Hatab Suicide, Meaning, and Redemption 163 Paul S. Loeb Nietzsche and the Temporality of (Self-)Legislation I91 Herman W. Siemens Part IV: Nietzsche's Contemporaries Geschichte or Historie? Nietzsche's Second Untimely Meditation in the Context of Nineteenth-Century Philological Studies 213 Anthonyl K. Jensen 'An Uncanny Re-Awakening': Nietzsche's Renascence of the Renaissance out of the Spirit of Jacob Burckhardt 231 Martin A. Ruehl Part V: Tragic and Musical Time Metaphysical and Historical Claims in The Birth of Tragedy 275 Katherine Harloe Nietzsche's Musical Conception of Time 291 Jonathan R. Cohen. (shrink)

Philosophy of history is the Cinderella of contemporary philosophy. Philosophers rarely believe that the issues dealt with by philosophers of history are matters of any great theoretical interest or urgency. In their view philosophy of history rarely goes beyond the question of how results that have already been achieved elsewhere can or should be applied to the domain of historical writing. Moreover, contemporary philosophers of history have done desperately little to dispel the low opinion that their (...) colleagues have of them. In this essay I argue that Arthur Danto is the exception confirming the rule, for Danto’s philosophy of representation may help us understand how texts relate to what they are about. The main shortcoming of philosophy of language undoubtedly is that it never bothered to investigate the philosophical mysteries of the text. The writing of history is a philosophical goldmine and we must praise Danto for having reminded us of this. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XXIV, Number 2, November 1998, pp. 335-354 "An Unaccountable Pleasure": Hume on Tragedy and the Passions ALEX NEILL Hume begins his essay "Of Tragedy" with a description of what he calls "a singular phaenomenon": It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy. The more (...) they are touched and affected, the more are they delighted with the spectacle; and as soon as the uneasy passions cease to operate, the piece is at an end.... They are pleased in proportion as they are afflicted, and never are so happy as when they employ tears, sobs, and cries to give vent to their sorrow, and relieve their heart, swoln with the tenderest sympathy and compassion. The few critics who have had some tincture of philosophy, have remarked this singular phaenomenon, and have endeavoured to account for it.1 The account of the audience's experience of tragedy that Hume goes on to offer in "Of Tragedy" has been the target of criticism since the essay was published. My purpose in what follows is to show that some of what may appear to be the most damaging of that criticism is based on a misinterpretation of the thesis that Hume develops in the essay. I shall not attempt to argue that Hume's thesis is persuasive; indeed, I believe and have argued Alex Neill is at the Department of Philosophy, University of Southampton, Hants Sl 7 IBJ ENGLAND. 336 Alex Neill elsewhere that it is not.2 My project here is almost entirely interpretive: it is an attempt to get clear about what Hume's thesis concerning our experience of tragedy really is. To that end, it should be noted that the apparently "unaccountable" pleasure Hume describes at the beginning of "Of Tragedy" is something that he has remarked on before. In Book I of the Treatise, he notes that in matters of religion men take a pleasure in being terrify'd, and that no preachers are so popular, as those who excite the most dismal and gloomy passions. In the common affairs of life, where we feel and are penetrated with the solidity of the subject, nothing can be more disagreeable than fear and terror; and 'tis only in dramatic performances and in religious discourses, that they ever give pleasure? The phenomenon that Hume finds so remarkable in these passages from "Of Tragedy" and the Treatise is thus, at a minimum, that in certain circumstances, such as when we are at the theatre, we may find agreeable the experience of "the most dismal and gloomy passions." The explanation he gives of this phenomenon in the Treatise is as follows: In these latter cases the imagination reposes itself indolently on the idea; and the passion, being soften'd by the want of belief in the subject, has no more than the agreeable effect of enlivening the mind, and fixing the attention. (T 115) Hume's explanation of how the experience of "uneasy" passions can be enjoyed when we are in church and at the theatre thus has two components. First, because we do not believe the stories we are told in church4 and at the theatre, the uneasy passions we experience are not so very uneasy; as he puts it later in the Treatise, in such circumstances the passion in question "lies not with that weight upon us: It feels less firm and solid" (T 631). Second, a weakly disagreeable passion of this sort agreeably "enlivens" the mind and "fixes" (or as he says later, "rouzes") our attention. By the time he wrote "Of Tragedy," however, Hume had come to regard this explanation of his "singular phaenomenon" as inadequate. With regard to the idea that the passions, even if "uneasy," have the pleasurable effect of "enlivening" the mind (an idea which in "Of Tragedy" he attributes to Dubos), Hume objects that having one's mind "enlivened," one's attention "fixed" or "rouzed," need not be pleasurable: "the same object of distress, which pleases in a tragedy, were it really set before us, would give the most unfeigned uneasiness; though it... (shrink)

This book is a study of ancient views about "moral luck." It examines the fundamental ethical problem that many of the valued constituents of a well-lived life are vulnerable to factors outside a person's control, and asks how this affects our appraisal of persons and their lives. The Greeks made a profound contribution to these questions, yet neither the problems nor the Greek views of them have received the attention they deserve. This updated edition contains a new preface.