Tragedy (n.) in Shakespeare is built out of trivial events, even out of nothing — the very fault rationalist critics found in it is his towering superiority.
Tragedy (n.) states the dilemma most people refuse: there is no compromise between killing and being killed — and those who say so are accused of taking things tragically.
Tragedy (n.) spares its spectators none of the most painful impressions, and yet can be felt by them as a high enjoyment.
Tragedy (n.) gets its beauty from an internal struggle: it can neither adhere to the myth nor reject it as the Prophets and Gospels did.
Tragedy (n.) resembles daily life, if only we knew how to find ourselves in it, because mimetic desire ties the great knots of traditional drama.