What do you know about Ancient Greek Tradegy, especially the Tradegy spirit. 你不知道中国吗？ 有人说是这样的you do not kno...
Argent\u7684\u300aTradegy\u300b \u6b4c\u8bcd\u6b4c\u66f2\u540d:Tradegy
\u6b4c\u624b:Argent
\u4e13\u8f91:The Argent Anthology: A Collection Of Greatest Hits
RL(of Next) - Trade
He was spankin' brand new
He was different
He was right there
He would share
He would listen
But now he don't care, never there
Something's missin'
Don't hold you now, blow you out
No more kissin'
You invested all you got
But the stock's dropped
You need to just stop
Take him back to his momma's spot
Say baby, we done (Bye bye)
I gotta get a refund (Cha-Ching)
Some type of even exchange
Hold up, let me explain
If he don't love you like he did back then
Says that he's sorry, only to do it again
You gotta take a stand, get yourself a new man
Girl, you need to just trade him on in
Let him go, let him go, let him go
Take him back to the store, to the store, to the store
You deserve satisfaction guaranteed
It's time to go shopping for what you really really need
Trade him on in
Trade him on, trade him on
Trade him on, trade him on
Trade him on, trade him on
Trade him on, trade him on in
Be sure to be record,
Long gone, no visits, no phone calls
Next time be more selective
He look nice, but he's defective
You ain't got time for a fixer up
You've invested all you got
But the stock's dropped
You need to just stop
Take him back to his momma's spot
Say baby, we done (Bye bye)
I gotta get a refund (Cha-Ching)
Some type of special exchange
Hold up, let me explain
If he don't love you like he did back then
Says that he's sorry, only to do it again (And he does it again)
You gotta take a stand, get yourself a new man (Oh, yes you do)
Girl, you need to just trade him on in (You need to let him go)
Let him go, let him go, let him go
Take him back to the store, to the store, to the store
You deserve satisfaction guaranteed (You deserve better)
It's time to go shopping for what you really really need
Trade him on in
Trade him on, trade him on
Trade him on, trade him on
Trade him on (Won't you...)
Tell him bye bye, baby, bye bye, baby, bye
It's about time you found somebody that'll really fit you right
You got a reason for a refund
Tell him he's done, and put him right back on the shelf
If he don't love you like he did back then
Says that he's sorry, only to do it again (You gotta take a stand)
You gotta take a stand, get yourself a new man
Girl, you need to just trade him on in (Let him go)
Let him go, let him go, let him go
Take him back to the store, to the store, to the store
(Take him back, it's alright, yeah)
You deserve satisfaction guaranteed
It's time to go shopping for what you really really need
Trade him on in
Trade him on, trade him on
Trade him on, trade him on
Trade him on, trade him on
Trade him on, trade him on in
http://music.baidu.com/song/8088403
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\u8981\u8bf4\uff1aDon't you know China?
2. 1. Origin
The origins of tragedy are obscure, but the art form certainly developed out of the poetic and religious traditions of ancient Greece. Its roots may be traced more specifically to the chants and dances called dithyrambs, which honored the Greek god Dionysus (later known to the Romans as Bacchus). These drunken, ecstatic performances were said to have been created by the satyrs, half-goat beings who surrounded Dionysus in his revelry.
Phrynichus, son of Polyphradmon and pupil of Thespis, was one of the earliest of the Greek tragedians. "The honour of introducing Tragedy in its later acceptation was reserved for a scholar of Thespis in 511 BC, Polyphradmon's son, Phrynichus; he dropped the light and ludicrous cast of the original drama and dismissing Bacchus and the Satyrs formed his plays from the more grave and elevated events recorded in mythology and history of his country", and some of the ancients regarded him as the real founder of tragedy. [7] He gained his first poetical victory in 511 BC. However, P.W. Buckham asserts (quoting August Wilhelm von Schlegel) that Aeschylus was the inventor of tragedy. "Aeschylus is to be considered as the creator of Tragedy: in full panoply she sprung from his head, like Pallas from the head of Jupiter. He clad her with dignity, and gave her an appropriate stage; he was the inventor of scenic pomp, and not only instructed the chorus in singing and dancing, but appeared himself as an actor. He was the first that expanded the dialogue, and set limits to the lyrical part of tragedy, which, however, still occupies too much space in his pieces." [8]
Later in ancient Greece, the word "tragedy" meant any serious (not comedy) drama, not merely those with a sad ending.
Aristotle is very clear in his Poetics that tragedy proceeded from the authors of the Dithyramb. [9] There is some dissent to the dithyrambic origins of tragedy mostly based in the differences between the shapes of their choruses and styles of dancing. A common descent from pre-Hellenic fertility and burial rites has been suggested. Nietzsche discussed the origins of Greek tragedy in his early book, The Birth of Tragedy (1872).
Greek literature boasts three great writers of tragedy whose works are extant: Sophocles, Euripides and Aeschylus. The largest festival for Greek tragedy was the Dionysia held for five days in March, for which competition prominent playwrights usually submitted three tragedies and one satyr play each.
Greek tragedies were performed in late March/early April at an annual state religious festival in honor of Dionysus. The presentation took the form of a contest among three playwrights, who presented their works on three successive days. Each playwright would prepare a trilogy of tragedies, plus an unrelated concluding comic piece called a satyr play. Often, the three plays featured linked stories, but later writers like Euripides may have presented three unrelated plays. Only one complete trilogy has survived, the Oresteia of Aeschylus. The Greek theatre was in the open air, on the side of a hill, and performances of a trilogy and satyr play probably lasted most of the day. Performances were apparently open to all citizens, including women, but evidence is scanty. The theatre of Dionysus at Athens probably held around 12,000 people (Ley 33-34).
The presentation of the plays probably resembled modern opera more than what we think of as a "play." All of the choral parts were sung (to flute accompaniment) and some of the actors' answers to the chorus were sung as well. The play as a whole was composed in various verse meters. All actors were male and wore masks, which may have had some amplifying capabilities. A Greek chorus danced as well as sang. (The Greek word choros means "a dance in a ring.") No one knows exactly what sorts of steps the chorus performed as it sang. But choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song"). So perhaps the chorus would dance one way around the orchestra ("dancing-floor") while singing the strophe, turn another way during the antistrophe, and then stand still during the epode.
A favorite theatrical device of many ancient Greek tragedians was the ekkyklêma, a cart hidden behind the scenery which could be rolled out to display the aftermath of some event which had happened out of sight of the audience. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects in order for it to have meaning and emotional resonance. Another reason that the violence happened off stage was that the theatre was considered a holy place, so to kill someone on stage is to kill them in the real world. A prime example of the use of the ekkyklêma is after the murder of Agamemnon in the first play of Aeschylus' Oresteia, when the king's butchered body is wheeled out in a grand display for all to see. Variations on the ekkyklêma are used in tragedies and other forms to this day, as writers still find it a useful and often powerful device for showing the consequences of extreme human actions. Another such device was a crane, the mechane, which served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase "deus ex machina" ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event. Greek tragedies also sometimes included a chorus composed of singers to advance and fill in detail of the plot.
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前一篇：论希腊“山羊之歌”（悲剧）后一篇：GREEK AND ROMAN COMEDY(一)评论 重要提示：警惕虚假中奖信息|[商讯]新浪奢品7天无风险退货[发评论]
彭建华PLUIE2008-09-20 00:35:39 [举报]
Reasons for calling this dramatic form, "goat song", are obscure
The word tragedy developed in the sixth and fifth centuries B.C. as a result of the performances of the original lyric recitations.
It is generally believed that the origin of tragedy came from Greek tragoidia, a compound of tragos, "goat", and aeidein, "to sing".
A dramatic poem or play in formal or stately language and action having an unhappy resolution; literally, "goat song".
Theories have been proposed to explain the connection with a goat.
One being that the actors or singers in Greek tragedies were originally dressed in goatskins to represent satyrs (goat-like woodland deities), and thereby became actors in satyric drama from which tragedy was later developed.
Alternatively, a goat might have been the prize for the best acting performance.
The generalized sense of a part of drama that deals with or includes tragedies is first recorded in Middle English in 1412-20.
The figurative sense of an unhappy event, calamity, or disaster, is found in 1509.
静水逸文2008-09-24 12:54:11 [举报]
纯文学作品，拜读佳作！
彭建华PLUIE2008-09-27 00:08:17 [举报]
埃斯库罗斯出生于一个古老的贵族家庭，他年轻时雅典的暴君被推翻，民主制被引入。他很早就开始喜欢戏剧和阿加索克利斯与阿波罗多的诗。传说狄俄尼索斯在梦中亲自向他传授诗的艺术。他早年时也亲自在他的剧中扮演角色，25岁时他第一次参加雅典的诗人比赛，但没有获胜。
前490年他参加马拉松战役，在这场战役中他的兄弟阵亡。前480年雅典被毁后他在希腊舰队里参加了萨拉米斯海战。埃斯库罗斯多次去西西里岛，前475年他在那里与诗人西摩尼得斯和品达相会。
前472年他回到雅典，在那里他的《波斯人》首次上演，这是他对他战时经验的回味。这部剧赢得了诗人比赛的最高奖。前468年他输在索福克勒斯手下，但他一生中一共赢得了13次雅典诗人比赛的最佳奖。
他最后一次去西西里时没有能够及时回雅典，传说他是被一只从天空上掉下来的乌龟砸死的。他被葬在格拉，他的墓碑上写着：
墓碑下安睡着雅典人埃斯库罗斯，欧福里翁之子，
在丰饶的格拉死亡战胜了他。
但马拉松的战场可以证明他的勇敢，
连长发的米底人也得承认。
这段墓志铭是由埃斯库罗斯本人撰写的。
死讯到达雅典后，雅典人决定他的剧作继续可以（不作为比赛的剧作）在比赛上上演，只要上演他的悲剧，提出申请的演出者就可以获得免费的助演歌队。
彭建华PLUIE2008-09-27 00:09:38 [举报]
埃斯库罗斯一共留下了90部剧作(包括山羊剧)，其中79部的名称流传下来了。其中最著名的20部都遗失了。他的悲剧有七部完整地流传到今天，另外三部部分保留下来了。从他早年的作品到他死前不久的作品有一个明显的艺术发展过程。他早年的作品叙述相当简单，他晚年的悲剧的戏剧性非常浓厚。
作品有：
《被缚的普罗米修斯》
时间不明，可能写于公元前480年以后，上演于公元前465年，是三连剧的第一部或第二部，其他两部已经佚失，是《送火者普罗米修斯》(可能为第三部或第一部)和《被解绑的普罗米修斯》(可能为第二部或第三部)，配套的山羊剧不明。
《波斯人》
上演于公元前472年，是独立的悲剧，也是现存唯一的取材于历史题材的古希腊悲剧。
《祈援人》
于公元前470年以后，是三连剧的第一部，其他两部已经佚失，可能是《埃古普托斯的儿子们》(或《埃及人》)和《达奈俄斯的女儿们》，配套的山羊剧是《阿慕莫奈》。
《七将攻忒拜》
于公元前467年，是三连剧的第三部，其他两部已遗失，是《莱俄斯》和《俄狄浦斯》，配套的山羊剧是《斯芬克斯》。获当年头奖。
《阿伽门农》
《奠酒人》
《善好者》(或称《复仇女神》) 以上三部合称为《俄瑞斯忒亚》三部曲，均于公元前458年上演。
是 tragedy spirit 吗？
你知道古希腊悲剧吗？特别是关于悲剧精神
While most cultures have developed forms that provoke this paradoxical response, tragedy refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization.
可以看文库有篇关于这个的~
希望对你有帮助哦~
你知道古希腊的悲剧吗？特别是悲剧的精神。
Sorry, i have no idea about it
扩展阅读：whataya want from me ... you is pig ... 抖音很火的one two three ... what do they have ... what about this one ... what can they do ... what the fack ... have a try ... blackpink口哨mv ...
