Summary: Journey Of The Heroic Saint
Ms. Augustine in the United States: Journey of the “Heroic Saint”
The soul, using the “soul” purposely is something which begets meaning, self-worth and self-compromises in the quest for meaning in a subordinate society infiltrated by the imagination of death as a reality, war as a proprietor to that fact and capitalism as the omniscient being that decides oracles of our fate. In the midst of going through my journey from the fantastic hero, the tragic hero, the saint and secular saint I don’t feel I can comply with the secular saint because of my hardships in accepting the society I live in and what part I possibly play in it. This is particularly evident because of my upraising as a devoutly religious being- my religion and my God tells …show more content…
From pre-classical Greek culture 1500-700 B.C, we see a transition from a tribal and blood kinship oriented society which stood by the feudal class and decentralization into a very authentic culture based one. A key example of this is through the character of Orestis son of Agamemnon and Clytemnestra. The story says that Clytemnestra killed her husband Agamemnon because of many crimes that he committed leaving Orestis with the difficulty of either avenging his father’s death which would mean spilling kindred blood or leaving any hopes of justice to spare his mother. The transition begins with Athena establishes the first trial by Jury, breaking the cycle of guilt associated with blood relationships, taking a step towards civil society. This later births the creation of drama and the tragic hero. According to Aristotle “tragedy mustn’t be a spectacle of a wholly good person…not must it be the case of a bad person moving away from adversity…nor the downfall of an utter villain” (Ambrosio, 2011). He says this because the tragic hero must be in additional value to normal citizens who can relate to his journey. This is someone with whom the average person can relate, he most procure the elements of pity and fear both elements which ornate the unpredictability of life to fall upon an encounter with tragedy. This is immensely close to me, being the average “joe” fear and tragedy are something I normally face but what defines these characteristics with a saint are the intermingling facts of being in tuned with the reality of tragedy and still making the “journey,” the route of the journey and the question itself serving as critical
The soul, using the “soul” purposely is something which begets meaning, self-worth and self-compromises in the quest for meaning in a subordinate society infiltrated by the imagination of death as a reality, war as a proprietor to that fact and capitalism as the omniscient being that decides oracles of our fate. In the midst of going through my journey from the fantastic hero, the tragic hero, the saint and secular saint I don’t feel I can comply with the secular saint because of my hardships in accepting the society I live in and what part I possibly play in it. This is particularly evident because of my upraising as a devoutly religious being- my religion and my God tells …show more content…
From pre-classical Greek culture 1500-700 B.C, we see a transition from a tribal and blood kinship oriented society which stood by the feudal class and decentralization into a very authentic culture based one. A key example of this is through the character of Orestis son of Agamemnon and Clytemnestra. The story says that Clytemnestra killed her husband Agamemnon because of many crimes that he committed leaving Orestis with the difficulty of either avenging his father’s death which would mean spilling kindred blood or leaving any hopes of justice to spare his mother. The transition begins with Athena establishes the first trial by Jury, breaking the cycle of guilt associated with blood relationships, taking a step towards civil society. This later births the creation of drama and the tragic hero. According to Aristotle “tragedy mustn’t be a spectacle of a wholly good person…not must it be the case of a bad person moving away from adversity…nor the downfall of an utter villain” (Ambrosio, 2011). He says this because the tragic hero must be in additional value to normal citizens who can relate to his journey. This is someone with whom the average person can relate, he most procure the elements of pity and fear both elements which ornate the unpredictability of life to fall upon an encounter with tragedy. This is immensely close to me, being the average “joe” fear and tragedy are something I normally face but what defines these characteristics with a saint are the intermingling facts of being in tuned with the reality of tragedy and still making the “journey,” the route of the journey and the question itself serving as critical