Dianoia: The Distinguishing Aspect of Ta'zieh from Tragedy

Primarily based on the qualitative-explanatory approach and with the help of available library resources, this article attempts to analyze the tragedy of Karbala, focusing on the ideology of Dianoia/Thought based on the conflict between good and evil. In the tragedy of Karbala, Hussein (AS) performs his self-sacrifice by choosing his own conscious for fighting against evil, but unlike Siavash or Greek tragedy, "fate" and "destiny" play a much less significant role. In mythical and Islamic perspectives, death is not the end, especially if it is the gift of oppressors and the killed person is dead for truth as a martyr. Therefore, divine Siavash turns into Hussein and the mourning of Siavash turns into ta’aziyeh. However, neither the person of Hussein in a historical-human position resembles the mythical and Aristotelian hero nor does the underlying thought of this event resemble Aristotle's concept of Dianoia, which is mainly based on myth. Quite the contrary, ta'aziyeh is based on the religious and national myths of Iran. In general, the conflict between good and evil has been, is, and will be present from eternity to eternity. Therefore, what Imam Hussain (AS) does in his uprising against the tyrants of his time is in line with and an extension of the paradigm of achieving human salvation rooted in the teachings of the Quran, the Prophet's tradition, and the infallible Imams. Initially, commemorating this uprising was done through reciting eulogies in gatherings, and then it evolved into what is now known as mourning or lamentation ceremonies. In fact, these ceremonies are a representation, simulation, reenactment, and overall portrayal of the tragedies that have occurred in the establishment of the Quranic discourse on the Prophet's family. Of course, holding mourning ceremonies is not only specific to Islamic discourse and the Shia community. In Christian discourse, there are also performances about the suffering and pain of Jesus (AS), as mentioned earlier. However, determining the exact origin and nature of what we now know as mourning, especially in Shia discourse, is a difficult task. Some consider its origin to be solely the Karbala uprising, some see it as influenced by ancient rituals, and others view it as similar to Christian rituals or even modern drama. Nevertheless, it seems that the religious worldview rooted in Quranic teachings shapes the religious origin of mourning. In sum, it seems that mourning has fundamentally different foundations and principles than Aristotelian drama. Some findings include: 1) both Ta'zieh and tragedy are similar in origin and ancestry, but have completely distinct goals. 2) In Ta'zieh, "thought" is based on the eternal conflict between absolute good and evil, while in tragedy, "thought" is devoted to the conflict between individuals. 3) In Ta'zieh, the hero is aware of his inevitable fate, while in tragedy, the hero has no escape from death. 4) In Ta'zieh, the hero has no tragic flaw and is free from error, while in tragedy, the hero is flawed. 5) However, in Ta'zieh, the wretched is not flawed but sinful. Catharsis is common in Ta'zieh and tragedy but in its ways.