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The following considerations are based on a certain specific form of the tragic. In its most subtle and clear form, it is visible in the ironic structure of the action of Sophocles’ Oedipus Rex, but it also appears in many other tragedies. Its distinguishing feature is the unintentional autotelic nature of the progress of events. The actions of the tragic hero, caused by some form of axiological or pragmatic coercion, lead beyond the will of the protagonist to his own pre-ordained catastrophe, before the hero takes any action. Tadeusz Zieliński calls a drama constructed in such a way a “tragedy of destiny,” believing, at the same time, that of all the different types of Greek tragedy this is one of the most tragic of all. 1 It is precisely such a model of tragedy and the metaphysical quality evoked by it that I consider to be the primary figure of tragedy. It is around this model that I group categories that I consider important for contemporary tragic awareness, i.e. the “pure tragedy of victims,” prefigured in the motif of Iphigenia in Agamemnon by Aeschylus and the “transcendental tragic,” which can be derived from the interpretation of the Bible. I use this model to interpret the interaction, constitutive for

In the Circle of the Tragic: The Book of Job. A Fragment of a Greater Fragment