Psychological Interpretation Of The Appreciation Of Tragedy

In the tragedy appreciation, we obtain the pleasure from the fierce conflict, tragic figure in the end. In real life, facing the tragic events, we instinct is to escape. This is the paradox of the tragedy in appreciation.In fact, facing the reality, people form daily feeling, facing the aesthetic objects, including tragedy, people form the aesthetic feeling. The two feelings are different. Daily feeling of the reaction of is the biological, aesthetic feeling is a uniquely human response; daily feeling to face the object is the reality, the face of the object of aesthetic feeling is illusion; daily feeling has a strong utilitarian, aesthetic feeling of non-utilitarian; daily feeling of cultural differences, aesthetic feeling has a strong cultural differences.Due to confusion of the daily feeling and the aesthetic feeling, in the history of the tragedy theory, we have two doctrines:goodwill and malicious. Goodwill said that the tragedy of the pleasure comes from the same emotion and empathy, malicious, said that the pleasure of tragedy from the bloodthirsty nature of the aesthetic subject, cruel, obtained from their own sense of security and self-superiority.In tragedy appreciation, there are two kinds of extreme audience, distributor and bystander. In the activity of distributor, emotion is the leading factor; distributor is under the control of the passion. In the activity of bystander, criticism is the leading factor; bystander is under the control of the rationality. The two kinds of extreme audience can not obtain complete tragedy experience.Psychological distance put forward by Edward Bullock seems a good solution to this problem. However, the tragic experience is definitely not the amount of the issue, but quality problem. The ideal audience of the tragedy is not the point of balance between reality and fiction to find, but is based on the script and the actors’ performances to play a creative imagination, to form their own aesthetic illusion, experience aesthetic feelings. In fact, neither is a tragedy, or any other art form, regardless of their performance, is no longer a reality, but illusion. Therefore, we are faced with any work of art, not face reality, but this art of illusion in our minds, the pleasure we received from by the creative imagination, not from the art of realistic features. Therefore, obtaining the pleasure from the tragedy and escaping from the tragic events, do not contradict.