Unwittingly, as per their temperament, does each man’s mind view the human thing
as being either a tragedy, an allegory, or a satire, (and to a secret few, a farce);
this regardless of their acquaintance with literary forms,
the forms being simply overt manifestations of such distinctions inherent in man.

The three basic forms overlap and are not mutually exclusive,
as one man may feel life a tragedy at one moment, and an instant later see it as satire,
but each person’s particular cellular schematic weights them in favor of
one of the views.
Their own thought-carried-consciousness causes them to feel,
which feeds the mind and makes it see
human existence as being either:
a tragedy: a performance with an unhappy or disastrous ending;
an allegory: a story with a second and deeper meaning than appears;
or a satire: an attack on folly and vice.

Open your mind to this matter and clearly hear that all human dialogue,
both spoke and writ, (save for instructions concerning purely physical activities),
bespeaks one or the other of these literary forms.

And the words stand not unaided, for a man whose temperament is for example,
to-the-tragedy-view-born,
finds/sees ample evidence all about him in support thereof,
and his individual take on the mighty mortal play is not wrong,
or in any manner, objectively flawed,
for taste in drama, as in all the arts-&-things-intangible is entirely personal,
and he who by his nature perceives human existence as a tragedy
can no more be made to see it otherwise than can the tone deaf by persuasion be turned into a connoisseur of music.

When examples are specifically noted, all ordinary minds can perceive what seems to be, instances of tragedy; hunger, illness, injustice and of course, death,
and from normal mentation cannot this perception be wiped;
in some humans it appears only when called by immediate circumstances
occurring in but one scene of one act out of the whole play,
while in others it is the overall description of the entire production.
 
 

Other people’s molecular substructure is such that their consciousness believes
what it sees performed on the stage of human life is not what it appears --
but is an allegory --
that the scenes shown and dialogue heard seem to be about one thing,
but are about another;
a certain story is apparently being told which is actually
a cover for a much deeper one.
A man with a neural network and its support groups so wired can see allegories in everything man says and does  --  and his view too is not Incorrect,
nor is it liable to being changed by others not sharing same.
In early days this perspective can be reassuring
in that such a person when confronted with scenes of tragedy,
feels there is another unrealized dimension behind the apparent one
which is not tragic, but enlightening  --   once grasped;
the initial comfort eventually ebbs under the frustration of them never fully contacting this presumed, behind-the-scenes,  greater story.
 
 

The third type is born with a temperament that causes him to see
what is going on as a satire;
that all of human life is simply an exercise in folly and vice;
his perception is that all men are buffoons and all of their activities corrupt,
and that they are either too stupid or too depraved to recognize their condition.
He often sneers and chortles at what he perceives being performed on stage,
but it is without humor;
within this view there is no good will toward, tolerance for, nor understanding of
the drama being acted out by men  --  merely a denial that it has any worth,
due to the inherent baseness of the performers.
Those with the allegory view believe there is something better going on
than what is seen,
while those with the satire perspective feel that it could not be worse.
 
 

Near a hundred per cent of the world’s population at every moment
sees human life distinctly through one of these three views;
these inborn perspectives mesh well,  as ‘twix each individual audience member,
and everyone else, who they perceive to be the actors in the drama they are witnessing, and into which they are continually, and often beyond their wishes, drawn.
There is one other apprehension of human life known to be possible,
that reflected in the literary form  --  farce:
technically, a presentation intended solely to elicit laughter,
and while this does not perfectly represent what is being referred to,
it is as close as words are likely to get.
From this view --  and with no effort required by such a viewer  --
all that men do and say beyond the little bit needed to simply stay alive,