Birth and Rebirth of Tragedy: From the Origin of Italian Opera to the Origin of Greek Tragedy

Abstract

There are two pitfalls which constantly threaten the literary historian who seeks the origins or beginnings of works of the mind such as species of literature or forms of religion, as well as the examples which partake of both. One danger is that the study may become an artificial construction without sufficient concrete basis in proved historical facts; the other is that the author may prefer experience to such constructions and may be too much influenced by what he has known and been impressed with as origin and beginning in his own time. The latter has at least one advantage: where there is no experience at the outset of an investigation, not even that minimum of empeiria which I shall call, with the Greek poet Aleman, peira (peira toi mathesios archa, “experience is the beginning of knowledge”), then there can be no scholarship in the fields of literature, art, and religion. In the history of those three fields we can be competently guided only by “veterans”—not mere theoreticians but men who in a sense are also “practitioners” in the creating of works of the mind. Experience takes first place not only in the natural sciences but also in modern scholarship in these areas, even with the risk that it may be too personal, too time-bound, too small in scope.