As far as psychological aesthetics is concerned, human beings will inevitably face the unavoidable problem of "psychological fatigue". The gaze offered by tragic beauty is sublime and moving, but it is too tiring over time. There are only two ways to overcome this psychological fatigue: one is to lower the height of the upward gaze; The second is to let one's heart produce factors similar to those of the object being looked upon, resulting in the effect of empathy. But these two things are difficult to achieve in classical tragedy. That kind of tragedy can only find new stimulation in order to get rid of people's fatigue, and that kind of stimulation always makes the tragic hero more tragic, and as a result, the psychological distance from the audience is getting bigger and bigger.

In the West, the transformation of classical tragedy has produced a major breakthrough since Hugo's Romantic period, but it was the Belgian writer Mau Mau who really achieved the theoretical results

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Maeterlinck argues that the poison, suicide, and duel in Shakespeare's tragedies are too accidental and too far away from the general audience, so that the tragedy is an "accidental tragedy", and for the audience it is "a tragedy far from itself". In fact, there are many tragedies related to everyone in daily life, such as finding your first gray hair in the mirror one morning. This kind of tragedy may seem trivial, but it is the most common, and it can move the back and forth of life. The first gray hair is a turning point, and the process from childhood to here takes on another meaning, and from here to death. In this way, this kind of tragedy in daily life becomes an "inevitable tragedy", and for the audience, it is a "tragedy that is very close to oneself". But this tragedy also has a major loss, that is, the sublime and solemn that are closely linked to the tragic beauty are gone.

In short, the modern transformation of tragic beauty is, to a large extent, a psychoaesthetic topic.

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