Christ's Passion, Christian tragedy and Ioannes Franciscus Quintianus Stoa's untimelyTheoandrothanatos

Russ Leo

doi:10.1111/rest.12239

Christ's Passion, Christian tragedy and Ioannes Franciscus Quintianus Stoa's untimelyTheoandrothanatos

Renaissance Studies ◽

10.1111/rest.12239 ◽

2016 ◽

Vol 30 (4) ◽

pp. 505-525

Author(s):

Russ Leo

Keyword(s):

Christian Tragedy

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Nicholas Rowe and Christian Tragedy

The Modern Language Review ◽

10.2307/3726612 ◽

1980 ◽

Vol 75 (4) ◽

pp. 854

Author(s):

Derek Hughes ◽

J. Douglas Canfield

Keyword(s):

Christian Tragedy

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Excavating Tragical Perspectives in Early Christianity

Visions and Faces of the Tragic ◽

10.1093/oso/9780198854104.003.0001 ◽

2020 ◽

pp. 1-33

Author(s):

Paul M. Blowers

Keyword(s):

Early Christianity ◽

Human Condition ◽

Apostle Paul ◽

Early Christian ◽

Greco Roman ◽

Philosophical Criticism ◽

The Human Condition ◽

Christian Tragedy ◽

Romans 8

This introductory chapter lays the groundwork for the monograph by establishing the paucity of actual works of early Christian tragedy, but also the growing Christian recognition of the power of tragedy to convey the vulnerability of the human condition and the subjection of all creation to what the Apostle Paul himself called an existential “vanity” or “futility” (Romans 8:19–23). The Christian reception and reworking of tragedy, however, stood at the end of a long evolution of tragedy and of its role in Greco-Roman civilization, which included strong philosophical criticism of the genre (Plato) and vigorous defense of its cultural utility (Aristotle). Christian polemicists against pagan theatrical art seized on the antecedent philosophical criticism but also developed their own, and included tragedy in their condemnation of the immorality, seductiveness, and irreligion of all pagan entertainment and “spectacle.” Yet Christian thinkers began their own rehabilitation of salvageable elements of tragedy as a literary, rhetorical, and dramatic artform. Some found noble and even theologically enriching passages in the ancient tragedians. Others looked, however, to free the genre to Christian appropriation, and to develop uniquely Christian forms of “tragical mimesis” for the edification of their audiences.

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