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'''Sadness,''' the muse of ] and the cross of ], differs from ], the cold, hard clinical turn of phrase for a "downturn in mood," which is, after all, itself mere metaphor. Under sadness's auspices, great works have been created, for it itself is a cousin of ]: the understanding that we are a prisoner of our ]s, ], and ]. | |||
A close examination of the ] reveals that tragedy is the highest and noblest activity of ]. Animals do not suffer ] or explore questions of ]. They merely exist. But man, with all the potential and pain that ] allows, seeks a higher truth, and rejects--slowly, inexorably--the dictates of his physical existence. | |||
], generally considered one of the greatest people to ever exist, achieved his foremost heights with his tragedies, ] being the prime example. This bard of the ] first touched upon the essential meaninglessness of the ], presaging ] by 350 years. By revealing how even the most powerful (a heir apparent to the throne), was but a mere puppet to the vagaries of fate, Shakespeare advanced the thesis that we can only resign ourselves to the inevitable. This flash of truth, this beam of harsh light in the darkness, calls to us, dwellers of the 21st century, even now, just as the more crudely laid-out dictates of Greek ] still resonate today. | |||
The essential argument against ] is that it is a ]. To all creatures the pull of ] calls, but inevitably, the hang-over follows the drunken revelry, and the consequences of our ] come down upon us to punish our ]. |
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