Abstract

Throughout his work Hegel distinguishes between the notion of an act from the standpoint of the agent and that of all other standpoints. He terms the formerHandlung and the latterTat. This distinction should not be confused with the contemporary one between action andmerebodily movement. For one, bothHandlungandTatare aspects of conduct that results from the will,viz. Tun. Moreover, Hegel's taxonomy is motivated purely by concerns relating to modes of perception. So whereas theorists such as Donald Davidson assert thatallactions are events that are intentional under some description, Hegel reserves the term ‘action’ for those aspects of behaviour that are highlighted by a specific set of agent-related descriptions. This is not an ontological category, since there are no such objects as actions-under-specific-descriptions.Sophocles'sTheban Trilogyreveals the central role that these notions must play in any Hegelian understanding of tragic drama. Indeed the contrasts that matter most to Hegel's general take on both epic and tragic poetry are more closely related to the study of action than the standard theory attributed to Hegel would seem to allow. It is more fruitful, then, to incorporate Hegel's insights into such tragedies to the model of action employed by him than it is to try to make them fit whatever ‘theory’ of tragedy might appear to be hinted at in hisAesthetics.