This study aims to explore the concept of "sin" psychologically, always keeping in mind the doctrine of original sin. In a way, it will quietly engage with the concept of "sin."
However, sin does not lend itself to psychological interest, and this could mean that one who wishes to explore it in this manner allows oneself to serve a misunderstood aestheticism. Sin has its defined place, or rather it has no place at all, for that is precisely its definition.
If you approach it outside its jurisdiction, you distort it, as you cast a light on it that does not illuminate it meaningfully. You degenerate the concept and simultaneously destroy the atmosphere because there is a truth of atmosphere that corresponds to every truth of meaning, and instead of a true atmosphere that will last, you prefer the fleeting charm of a false atmosphere.
If you thus pull sin into the aesthetic realm, you will have an atmosphere of superficiality or melancholy because the category to which sin belongs is contradiction, and contradiction can be nothing other than comic or tragic.
Therefore, the atmosphere of sin is distorted because the atmosphere that corresponds to it is seriousness. Similarly, its meaning is also distorted because, whether comic or tragic, sin can be both: it can remain real and be negated by a trivial trick, while its meaning wants it to be overcome.
In essence, comedy and tragedy have no enemy, aside from a boogeyman that makes us cry or laugh.
