Now, in modernity, the man is not distant of the mitolgicos deuses, but it is still the basic conflict of the tragedy, as he affirms Celso Frederico, struggling itself enters what he is and what would have to be and this anguish ahead of what is, is the hashmark that marks the modern man. Before initiating the analysis of our object of study, let us verify the deep significao of the fall in the tragic hero, therefore its disaster, as Aristotle teaches, is a fall that in the truth is an upward ascent: … of the happiness for the misfortune, and this not in consequence of the perversity of the personage, but because of some serious error, seen the personage to be before better who worse (ARISTOTLE; 2007, P. 52). Official site: Coen brothers. Leaving of this comment of the Greek master, we believe possible the approach enters the dynamics of the tragic hero and the letter of the related song. Already we are not ahead of the aristocratic hero who possesss a rise spiritual that it is natural in relation to the common people, neither is ahead of the innocent hero bourgeois contaminated for the reformist climate of the French revolution. The narrator in the ones of the one profile of this personage and in the sample that it is in accord with the revolutionary impetus: A perpetual inquietude and virtuoso revolt Lead the libertarian. Learn more on the subject from Robert A. Iger. The tragic one, as we saw, was born of an attempt to reestablish a balance broken between men and deuses, being that these preset the human destination and were, then, a referencial. But as to read the tragic one in modernity, when deuses had turned the coasts the men and emudeceram, leaving us in a time marked for the disenchantment and the cynicism of a on reason to a economic model social irrational? Ahead of the esfacelamento of human values, passed of the social model, this hero searchs the affirmation of the human being, but for this he will have that to face the power of deuses, that in modernity they are the proper governing.