(wikipedia) The deus ex machina is often considered to be a poor storytelling technique by critics because it undermines the story's internal logic, although it is sometimes employed deliberately for this reason. Following Aristotle, Renaissance critics continued to view the deus ex machina as an inept plot device, although it continued to be employed by Renaissance dramatists; Shakespeare used the device in As You Like It, Pericles, Prince of Tyre, and The Winter's Tale.[14]
Towards the end of the 19th century, Friedrich Nietzsche criticized Euripides for making tragedy an optimistic genre via use of the device and was highly skeptical of the "Greek cheerfulness", prompting what he viewed as the plays' "blissful delight in life."[15] The deus ex machina, as Nietzsche saw it, was symptomatic of Socratic culture that valued knowledge over Dionysiac music and ultimately caused the death of tragedy:[16] But the new non-Dionysiac spirit is most clearly apparent in the endings of the new dramas. At the end of the old tragedies there was a sense of metaphysical conciliation without which it is impossible to imagine our taking delight in tragedy; perhaps the conciliatory tones from another world echo most purely in Oedipus at Colonus. Now, once tragedy had lost the genius of music, tragedy in the strictest sense was dead: for where was that metaphysical consolation now to be found? Hence an earthly resolution for tragic dissonance was sought; the hero, having been adequately tormented by fate, won his well-earned reward in a stately marriage and tokens of divine honour. The hero had become a gladiator, granted freedom once he had been satisfactorily flayed and scarred. Metaphysical consolation had been ousted by the deus ex machina. —Friedrich Nietzsche Nietzsche argues that the deus ex machina creates a false sense of consolation that ought not to be sought in phenomena and this denigration of the plot device has prevailed in critical opinion.[17] Some 20th-century revisionist criticism suggests that the deus ex machina cannot be viewed in these simplified terms and argues rather that the device allows mortals to "probe" their relationship with the divine.[18] Rush Rehm in particular cites examples of Greek tragedy in which the deus ex machina serves to complicate the lives and attitudes of characters confronted by the deity whilst simultaneously bringing the drama home to its audience.[18]
