In the wake of German Romantic aesthetic thought, Greek tragedy was appropriated by idealist philosophy as a basis for theories of the Tragic. This resulted on the one hand in a positive ontology that led, by way of tragic reversal, to man’s absolute conscience and freedom, and on the other hand in a negative ontology in which human nature’s fundamental indeterminateness eludes language. In this perspective, Greek drama acts as a salutary reminder that human reality eludes Enlightenment reason. A historicized version of these idealist theories of the Tragic, greatly influenced by Christian theology around divine Incarnation and Redemption, finds expression in recent work by various scholars; by staging divine men who suffer and gods who are all too human, Attic tragedy as a genre is held to refer to a ‘minimal theology’ based on the effects of time and animated by a ‘theoretical need’ that is instrumental rather than final; it presents on stage a series of paradoxical individualities. By relying on a template, it enables singular dramatic situations to ‘make sense’.