We can see tragedy as a specific disruption in the relationship between aesthetics and politics.The disruption takes place at the site of art’s "militarization," the point at which the medium and the mechanics of expression divide, not in indifference, but in strife. This conflict marks the emergence of a language that demonstrates its aesthetic and political authority only by undermining its very status as language.
In fact, Schelling's subsequent discussion of Greek tragedy has been viewed as the most important contribution of the Philosophical Letters, often to the point that the passage is read as a complete doctrine in its own right, in isolation from the rest of the work.
With the Greeks, explains Schelling, the hero is punished for succumbing to the power of fate. This fate is an inherently superior power, a power against which the hero fights, but in the face of which he could never hope to be successful .
For Schelling, it is this defeat and this defeat alone that constitutes the recognition of freedom. Only when the hero is lost before the fact, only when he enters into a conflict in which he is, as it were, always-already defeated, does he demonstrate that he is free.
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