英国雷丁大学论文代写:常规序列
Keywords:英国雷丁大学论文代写
描述了悲剧的常规序列：“机器是在完美的秩序；它已涂油自从时间开始，它没有摩擦…在悲剧中，没有什么是毫无疑问的，每个人的命运都是已知的。这使得宁静…悲剧是宁静的；其原因是希望，那个邪恶的，虚假的东西，没有这部分。没有任何希望。你被困”（Anouilh 34-5）。根据悲剧的aristotlean理论，打开时行动已接近完成，并已在一个固定的路径。正是这种想法，悲剧的行动必须完全使井井有条的悲剧观念为“机…。”该声明的开口了…必须接近完成”可以理解为对游戏本身的话，其作用是“接近完成”之前就开始了。然而，这句话可以进一步解读为贝克特对悲剧传统的评论：这是“最终游戏”，悲剧机器的最终产物。 Hamm和Clov，残局的悲剧英雄，都意识到自己是悲剧人物。观众看到的不是Hamm的房间更多的游戏世界，和他舞台是他的现实。“有什么能让我留在这里？–对话，”他说，露出的扮演起意识，因此一个预先设定的和不可逆的作用。事实上，该剧本身的行动代表了Hamm最后的不确定性在臣服于悲剧英雄的最终命运。而在哈姆雷特悲剧英雄会在自己的主观世界，在残局哈姆充分意识到自己的表现和观众只看到Hamm的主观视觉。
英国雷丁大学论文代写:常规序列
Jean Anouilh has described the conventional sequence of the tragedy: ‘The machine is in perfect order; it has been oiled ever since time began, and it runs without friction … In tragedy, nothing is in doubt and everyone’s destiny is known. That makes for tranquillity … Tragedy is restful; and the reason is that hope, that foul, deceitful thing, has no part in it. There isn’t any hope. You’re trapped’ (Anouilh 34-5). According to the Aristotlean theory of tragedy, the play opens at the point when the action is nearly complete, and already in a fixed path. It is this idea that the tragic action must be complete which leads to the notion of tragedy as a ‘machine … in perfect order.’ Clov’s opening statement that ‘It’s finished … it must be nearly finished’ can be read as a remark on the play itself, in which the action is ‘nearly finished’ before it even begins. However, this remark can be further read as Beckett’s comment on the tradition of tragedy : this is to be the ‘end game’, the final product of the tragic machine.
Hamm and Clov, the tragic heroes of Endgame, are conscious of themselves as tragic characters. The audience sees no more of the world of the play than Hamm’s room, and for him the stage is his reality. ‘What is there to keep me here? –The dialogue’ he says, revealing an awareness of the play as play, and therefore a pre-scripted and irreversible action. Indeed, the action of the play itself represents Hamm’s final uncertainties before surrendering to the ultimate fate of the tragic hero. Whereas in Hamlet the tragic hero suffers within his own subjective world, in Endgame Hamm is fully aware of his own performance and the audience sees only Hamm’s subjective vision.
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