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Tragedy: Difference between revisions
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== Origins of Tragedy == | == Origins of Tragedy == | ||
[[File:304px-Dionysos_Louvre_Ma87_n2.jpg|thumb|Roman statue of Dionysus]] | [[File:304px-Dionysos_Louvre_Ma87_n2.jpg|thumb|Roman statue of Dionysus.]] | ||
The Greek word "tragoidia" translates to "goat song," which could mean one of several definitions. Although not all tragedies are considered Greek, it is quite common to "refer to the tragedies that have survived the ancient world as “Greek” although tragedy as we know it, was developed in Athens." <i>[http://cgim.dbq.edu/cgim/greece05/greek_tragedy.htm]</i> In fifth century BC, it was often said that goats were "a song for the prize of a goat or song at the sacrifice of a goat," and were also used as sacrifices in early rituals . These rituals took place in the form of dance, which is considered the first ever form of tragedy. This was the prominent element to a tragedy for many years. Over time, a speaker was added, and was likely to be a priest because these rituals had a religious [[ theme ]]. Eventually, dialogue between the speaker and dancers took place, which lead to the introduction of the chorus. Over time, these ritualistic elements continued to evolve into the tragedy as it is known today. | The Greek word "tragoidia" translates to "goat song," which could mean one of several definitions. Although not all tragedies are considered Greek, it is quite common to "refer to the tragedies that have survived the ancient world as “Greek” although tragedy as we know it, was developed in Athens." <i>[http://cgim.dbq.edu/cgim/greece05/greek_tragedy.htm]</i> In fifth century BC, it was often said that goats were "a song for the prize of a goat or song at the sacrifice of a goat," and were also used as sacrifices in early rituals . These rituals took place in the form of dance, which is considered the first ever form of tragedy. This was the prominent element to a tragedy for many years. Over time, a speaker was added, and was likely to be a priest because these rituals had a religious [[ theme ]]. Eventually, dialogue between the speaker and dancers took place, which lead to the introduction of the chorus. Over time, these ritualistic elements continued to evolve into the tragedy as it is known today. | ||
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== American Tragedies == | == American Tragedies == | ||
[[File:Title_page_for_The_Scarlet_Letter.jpg|thumb|center|Title page for The Scarlet Letter]] | [[File:Title_page_for_The_Scarlet_Letter.jpg|thumb|center|Title page for The Scarlet Letter.]] | ||
In the late 19th century in the United States, two authors will be one of the many to start the new tragic genre of American Tragedies. In 1850-51, both Nathaniel Hawthorne and Herman Melville had created the embodiment of the tragic form just when America was booming with optimism and vying for materialistic possession. Their novels <i>[[The Scarlet Letter]]</i> and <i>[[Moby Dick]]</i> will be the first of many that will succeed them in this genre. The trend continued into the 20th century playing up the pathos of the victims, who are sometimes insignificant, only for them to be engulfed by the unmatching force of the significant being who ends up destroying the victim in the process. Only the novels of William Faulkner, in their depth and powerful assault on basic tragic themes, give memorization of traditional tragic values long forgotten in his "Saga of the South". | In the late 19th century in the United States, two authors will be one of the many to start the new tragic genre of American Tragedies. In 1850-51, both Nathaniel Hawthorne and Herman Melville had created the embodiment of the tragic form just when America was booming with optimism and vying for materialistic possession. Their novels <i>[[The Scarlet Letter]]</i> and <i>[[Moby Dick]]</i> will be the first of many that will succeed them in this genre. The trend continued into the 20th century playing up the pathos of the victims, who are sometimes insignificant, only for them to be engulfed by the unmatching force of the significant being who ends up destroying the victim in the process. Only the novels of William Faulkner, in their depth and powerful assault on basic tragic themes, give memorization of traditional tragic values long forgotten in his "Saga of the South". | ||