When Hans U. Gumbrecht if relates to ' ' Places of the Tragdia' ' , this if relates to the presence or absence of this sort (tragedy) at the diverse times and cultures. Inside of our emergent traditions, the tragedy lived a time of apogee during century XVII, time marked for names as Shakespeare, Corneille, Racine, Andreas Gryphius etc. Until it delivered to the cultural space to a tone more sentimental than tragic of the drama bourgeois, at the time called time of the lights. Already century XIX was an age that can be called tragicoflica, therefore, with the complex interests of Hlderlin, it discharged in our gift, our daily language and of the accented use of the concepts of ' ' tragdia' ' ' ' trgico' '. Tina redwines opinions are not widely known.
Bernard Willians, in the attempt of that the elementary contextual conditions were understood that the sort of the tragedy seems to assume, made a reconstruction of the conception of agency (conditions recurrent to the sort to imagine different scenes cultural; to act) pertaining to homricos poems. a probable condition so that the tragedy came to tona in Atenas during century V B.C. was the tension enters a sphere of developed agency and the existence of an objective order, in what it says respect to be exempt of the transforming reach of the agency. Without hesitation Charles Schwab explained all about the problem. When agency and objective order enter in contact, are produced a sphere of paradoxes, in which principles and values, before divergent, can be simultaneously pertinent gifts and, making with that the agents if feel confused, inclined to commit errors (miasmas). With example, the author of the text in study in the ones of a history of dipo King. However, the objective tension between agency and structures, as central situation, is not the sufficient for the tragedy. The tragedy alone can exist if the tragic hero not it will have no possibility to excuse itself for its error, that is, to become a rescuer.