When the Trojan War broke out, Hecktor, as a pillar of the country, bid farewell to his beloved wife on the wall, and was doomed to die in the battlefield, leaving his wife and children separated. It hurts to think about what will happen to widows and weak children in the end of war and defeat. Therefore, the fate of this woman in ancient Greek mythology attracted the attention of different drama creators in later generations and inspired their creation and sympathy. Euripides, one of the three great tragic writers in ancient Greece, and jean racine, a famous French playwright in the17th century, successively created the tragedy andromache. Based on these two works, this paper will compare their tragic significance in different times, the same protagonist and the same form of works.

Keywords: the tragic significance of ancient Greek tragedy andromache

When the Trojan War broke out, hector, as a pillar of the country, bid farewell to his beloved wife on the city wall, which doomed the end of his wife and children's exile after he died in battle. Widows, wives, weak children, in the raging war, in the end of defeat, there will be a little misfortune that they want people to grieve. It can be seen that the fate of women in ancient Greek mythology was later concerned by different drama creators and inspired their creativity and compassion. Euripides, one of the three great tragic writers in ancient Greece, and jean racine, a famous French playwright in the 17th century, created all the tragedies "Andlau M Archie". This paper will start with these two works and compare their common tragic significance under different times and conditions, under the same protagonist and the same work form.

Keywords: the tragic significance of ancient Greek tragedy andromache

1. jean racine: noble reason and crazy sensibility.

However, when this kind of drama developed to Racine, it was quite different from the ancient Greek drama. Although Racine wrote this drama on the basis of euripides's tragedies trojan women and andromache, it is quite different from euripides's creation.

First of all, the plot has been greatly modified. Ondumag (andromache) has not become the wife of Belarusian (Neo-Autore Moss) in the play, and her children with Hector (Hecktor) have not died. Belarus fell in love with her at first sight, pursued her, even gave up all positions and principles for her, threatened her with her children's lives, became a monarch who was crazy about love, and finally died at the hands of Orestes. Orestes, on the other hand, committed this atrocity under the instruction of Amelia (Hermione), whom he always admired, but was finally accused by Amelia of killing the person she loved. After Amelia committed suicide, she also committed suicide. Amelia repented after Orestes killed Belarus and committed suicide beside the person she loved.

Secondly, the structure is closer, the plot is more concentrated, and the conflict is more intense, which perfectly implements the requirements of "three unifications". Stendhal once commented on Racine's creation, saying, "Although he is in chains, he is still heroic and beautiful." In this play, Racine skillfully controls the trend of the plot with a unique rational attitude towards different choices. At the beginning, humble Ruth was bent on winning the love of Ondumag, so she refused to hand over Ondumag's children from Orestes, the messenger of the Greek nation, and refused to marry Amelia, who was furious with Orestes and had her own heart. When Ondumag rejected Belarus, the plot took a 180 degree reversal. In a rage, Belarus agreed to hand over Ondumag's son for punishment and decided to marry Yimiaona, which made Ondumag jealous, so Yimiaona was overjoyed and Orestes was caught off guard. However, when Ondormaag couldn't give up his children and changed his mind after being despised by Emilia, the plot finally reached its final climax in generate. Amelia couldn't bear it, and Orestes put all her eggs in one basket, which eventually led to tragedy. This is very consistent with the "inversion" mentioned by Aristotle in Poetics: "Inversion means that things turn from one state to the opposite direction." (2) Here, the direction of the plot is just so.

Finally, the whole drama is full of the collision between rationality and perceptual emotion, and the passionate emotions are constantly pouring out like volcanic lava, which promotes the development of the plot and the arrival of the climax. Racine is good at writing psychology, and there are many monologues of characters' psychology in the play, which makes the characters' words and deeds have a good emotional foundation and does not appear thin in the fierce plot conflict. This is also the biggest difference between Racine and euripides's works. Euripides's works are more about telling stories and have a solemn and eloquent feeling. Because it is related to the mythical god, there is always a certain sense of distance; Racine's works, on the other hand, are full of emotions, and all kinds of irrational and fierce love-hate relationships, like jumping flames, intensify until they finally collapse and disappear. That unprincipled and rational ferocity has reached the point of puzzling and fear.

The tragedy ended in chaos. The characters in the play are dominated by passion and emotion and have no restraint at all. Orestes destroyed the honor principle, Belarus destroyed the national interests, and Amelia got nothing, what's more, she ended her life. Euripides once said: "Without temperance, love can't give people glory and reputation." Racine must be impressed, too In this play, andromache is the only one who always insists on his own rationality. The other three people are so fond of losing their rationality that they are affectionate but sentimental. Everything else is abandoned, which makes them paranoid.

Although Racine wrote stories in ancient Greek mythology, it reflected the meanness of the French court in the17th century. The seemingly sacred and solemn court is actually a dark corner and a den of evil. There are tyrannical tyrants and sycophantic courtiers who are intrigued and shameless.

With the changes of the times, Racine endowed this ancient story with more wonderful forms and brand-new connotations. In his tragedy, human nature is revealed, and there is also a fierce collision between rationality and sensibility.

Second, the tragic significance

In The Birth of Tragedy, Nietzsche used the symbols of Apollo and Dionysus to illustrate the origin, essence and function of art, and even the meaning of life. Nietzsche believes that the prosperity of Greek art is not because of the harmony of the Greeks, but because of their inner pain and conflict. They have seen clearly the tragedy of life, so they want to seek salvation from art.

Zhou concluded: "Apollo and Dionysus are deeply rooted in human instinct." The former is the impulse of an individual to affirm himself through the illusion of appearance, while the latter is the impulse of an individual to deny himself and return to the world ontology. " Compared with Apollo spirit, Dionysian spirit can better reflect the power of a tragedy, which is also the source of tragedy's appeal. The reason why readers can get pleasure from tragedy is that tragedy "liberates us with a metaphysical comfort." No matter how the phenomenon changes, the life based on things is still indestructible and full of joy. " ⑤ When watching the tragedy, "a kind of metaphysical comfort enables us to temporarily escape the interference of events. We really became the primitive creature itself in a very short moment and felt its unstoppable desire for survival and happiness. " ⑥

Life and death are impermanent, honor and disgrace change, which is a great tragedy. However, when those fragile but stubborn lives keep coming and going and gathering into unprecedented strength, it shows the significance and sublimity of a tragedy. In the Trojan War, Hecktor died in battle, and andromache was reduced from a nobleman to a prisoner of war slave, and suffered humiliation. This is an irresistible fate tragedy, but her love and strength have never faded from her and become an eternal light in the darkness. Just like the tragic hero in the Myth of Sisyphus by Camus, a representative figure of existentialism, he has suffered a lot, but he always insists on his old self, despises gods, hates death and is full of passion for life. If tragedy is sad because beautiful things are torn up for people to see, what is really shocking is that people never despair when they face suffering with nothing but ruins. This is the detachment and eternal smile after blood and tears dry up, and it is also the essence of Dionysian spirit.

This is the lasting charm of tragedy.

Precautions:

(1) [France] Stendhal Racine and Shakespeare [M]. Shanghai Translation Publishing House.

(2) Aristotle in ancient Greece/Horace in ancient Rome. Poetics and poetic art. Translated by Hao Jiuxin [M]. Kyushu Press, 2007: 4 1.

3 [Germany] Nietzsche. The Birth of Tragedy ―― Selected Works of Nietzsche's Aesthetics [M]. Translated by Zhou Sanlian Bookstore, 1986: 1, 3,28,71.

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