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Tragedy: Difference between revisions
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[[File:King_Lear_1619.jpg|thumb|left|210px|Title page for King Lear <ref>"King Lear 1608 [1619] Quarto." King Lear 1608 [1619] Quarto. N.p., n.d. Web. <http://www.britaininprint.net/image_library/eul_lear_1619_quarto.html></ref>.]] | [[File:King_Lear_1619.jpg|thumb|left|210px|Title page for King Lear <ref>"King Lear 1608 [1619] Quarto." King Lear 1608 [1619] Quarto. N.p., n.d. Web. <http://www.britaininprint.net/image_library/eul_lear_1619_quarto.html></ref>.]] | ||
One of the most popular Greek tragedies was ''Oedipus Rex''. This type of tragedy was in the form of a play created by Sophocles.<ref>Stevenson, Daniel C. "Works by Sophocles." <i>The Internet Classic Archive</i>. N.p., 1994-2009. Web. <http://classics.mit.edu/Browse/browse-Sophocles.html></ref> This tragedy involves a Theban king having an incestuous relationship with his mother which eventually results in marriage. The king also makes it his mission to kill his father and succeeds in doing so. Sigmund Freud was most famous for his contribution to Oedipus Rex because it formed the psychological concept of the Oedipus complex. The Oedipus complex served as the theoretical reasoning behind the king’s actions. This well-known tragedy creates a major trademark in the history because it was greatly celebrated and displayed the true characteristics of what composes a tragedy: anguish and distress. <ref>Tearle, Oliver . "A Brief History of Tragedy." <i>Interesting Literature</i>. N.p., 1 May 2013. Web. <http://interestingliterature.com/2013/05/01/a-brief-history-of-tragedy></ref> | One of the most popular Greek tragedies was ''[[Oedipus Rex]]''. This type of tragedy was in the form of a play created by Sophocles.<ref>Stevenson, Daniel C. "Works by Sophocles." <i>The Internet Classic Archive</i>. N.p., 1994-2009. Web. <http://classics.mit.edu/Browse/browse-Sophocles.html></ref> This tragedy involves a Theban king having an incestuous relationship with his mother which eventually results in marriage. The king also makes it his mission to kill his father and succeeds in doing so. [[Sigmund Freud]] was most famous for his contribution to Oedipus Rex because it formed the psychological concept of the Oedipus complex. The Oedipus complex served as the theoretical reasoning behind the king’s actions. This well-known tragedy creates a major trademark in the history because it was greatly celebrated and displayed the true characteristics of what composes a tragedy: anguish and distress. <ref>Tearle, Oliver . "A Brief History of Tragedy." <i>Interesting Literature</i>. N.p., 1 May 2013. Web. <http://interestingliterature.com/2013/05/01/a-brief-history-of-tragedy></ref> | ||
During the late 16th Century, playwright William Shakespeare composed several works during the Renaissance Tragedy era, which became known as the Shakespearean tragedies.<ref>Schwartz, Debora B. "Tragedy." <i>Shakespeare Plays</i>. N.p., 1996-2005. Web. <http://cla.calpoly.edu/~dschwart/engl339/tragedy.html></ref> Today, Shakespeare is seen as one of the central founders of British tragedies. Scholars typically categorize British tragedies into three distinct periods. The first period is marked by the tragedy ''Titus Andronicus'' and occurs around 1590-1594. The second period occurs around 1595-1601 and produces works such as ''Julius Caesar.'' Finally, the third period of tragedies produces some of Shakespeare's most famous tragedies including, ''Othello,'' ''Macbeth,'' and ''Hamlet,'' and occurs around 1602-1610.<ref>AbsoluteShakespeare, . "William Shakespeare." <i>Absolute Shakespeare</i>. N.p., 2000-2005. Web. <http://absoluteshakespeare.com/william_shakespeare.htm></ref> | During the late 16th Century, playwright William Shakespeare composed several works during the Renaissance Tragedy era, which became known as the Shakespearean tragedies.<ref>Schwartz, Debora B. "Tragedy." <i>Shakespeare Plays</i>. N.p., 1996-2005. Web. <http://cla.calpoly.edu/~dschwart/engl339/tragedy.html></ref> Today, Shakespeare is seen as one of the central founders of British tragedies. Scholars typically categorize British tragedies into three distinct periods. The first period is marked by the tragedy ''Titus Andronicus'' and occurs around 1590-1594. The second period occurs around 1595-1601 and produces works such as ''Julius Caesar.'' Finally, the third period of tragedies produces some of Shakespeare's most famous tragedies including, ''Othello,'' ''Macbeth,'' and ''Hamlet,'' and occurs around 1602-1610.<ref>AbsoluteShakespeare, . "William Shakespeare." <i>Absolute Shakespeare</i>. N.p., 2000-2005. Web. <http://absoluteshakespeare.com/william_shakespeare.htm></ref> | ||
== Key Characteristics == | == Key Characteristics == | ||
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* On a level quite above the immediate values of the play [''Antony and Cleopatra''] feeling is the quality most affirmed by it, indeed by all the tragedies. For this reason, Aristotelian categories seem to me quite irrelevant to Shakespeare — and even to Greek tragedy. A [[peripeteia | fall]], a [[hamartia | flaw]], a [[anagnorisis | recognition]]: the pattern must be stretched into a one-size-fits-all dimension to fit the plays. —Marilyn French, ''Shakespeare’s Division of Experience'' (1981)<ref>French, Marilyn. Shakespeare's Division of Experience. New York: Summit, 1981.</ref> | * On a level quite above the immediate values of the play [''Antony and Cleopatra''] feeling is the quality most affirmed by it, indeed by all the tragedies. For this reason, Aristotelian categories seem to me quite irrelevant to Shakespeare — and even to Greek tragedy. A [[peripeteia | fall]], a [[hamartia | flaw]], a [[anagnorisis | recognition]]: the pattern must be stretched into a one-size-fits-all dimension to fit the plays. —Marilyn French, ''Shakespeare’s Division of Experience'' (1981)<ref>French, Marilyn. Shakespeare's Division of Experience. New York: Summit, 1981.</ref> | ||
=== | === Contemporary === | ||
* In the sense of having been initiated by the hero himself, the tale always reveals what has been called his “[[hamartia | tragic flaw]],” a failing that is not peculiar to grand or elevated characters. Nor is it necessarily a weakness. The flaw, or crack in the character, is really nothing — and need be nothing — but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status. Only the passive, only those who accept their lot without active retaliation, are “flawless.” Most of us are in that category. —Arthur Miller, “The Tragedy of the Common Man” (1941)<ref>Miller, Arthur, and Robert A. Martin. The Theater Essays of Arthur Miller. New York: Viking, 1941.</ref> | * In the sense of having been initiated by the hero himself, the tale always reveals what has been called his “[[hamartia | tragic flaw]],” a failing that is not peculiar to grand or elevated characters. Nor is it necessarily a weakness. The flaw, or crack in the character, is really nothing — and need be nothing — but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status. Only the passive, only those who accept their lot without active retaliation, are “flawless.” Most of us are in that category. —Arthur Miller, “The Tragedy of the Common Man” (1941)<ref>Miller, Arthur, and Robert A. Martin. The Theater Essays of Arthur Miller. New York: Viking, 1941.</ref> | ||
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* In every primitive tribe we find the shaman in the center of society, and is easy to show that he is either a neurotic or psychotic, or at least that his art is based on the same mechanisms as a neurosis or psychosis. The shaman make both visible and public the systems of symbolic fantasy that are present in the psyche of every adult member of society. They are the leaders in an infantile game and the lightening conductors of common anxiety. They fight the demons so that others can hunt prey and in general fight reality. —Geza Roheim, ''Magic and Schizophrenia''<ref>Róheim, Géza, Warner MUENSTERBERGER, and S. H. POSINSKY. Magic and Schizophrenia ... Edited by Warner Muensterberger with the Assistance of S.H. Posinsky, Etc. Pp. Viii. 230. International Universities Press: New York, 1955. </ref> | * In every primitive tribe we find the shaman in the center of society, and is easy to show that he is either a neurotic or psychotic, or at least that his art is based on the same mechanisms as a neurosis or psychosis. The shaman make both visible and public the systems of symbolic fantasy that are present in the psyche of every adult member of society. They are the leaders in an infantile game and the lightening conductors of common anxiety. They fight the demons so that others can hunt prey and in general fight reality. —Geza Roheim, ''Magic and Schizophrenia''<ref>Róheim, Géza, Warner MUENSTERBERGER, and S. H. POSINSKY. Magic and Schizophrenia ... Edited by Warner Muensterberger with the Assistance of S.H. Posinsky, Etc. Pp. Viii. 230. International Universities Press: New York, 1955. </ref> | ||
== Other | == Other Forms of Tragedy == | ||
Although most tragedies are famously known for their pessimistic qualities and fallen heroes, this is not the only type of tragedy that should receive universal recognition. There are different types of tragedies that incorporate revenge, violence, domesticity, social class, and comedic plots. | Although most tragedies are famously known for their pessimistic qualities and fallen heroes, this is not the only type of tragedy that should receive universal recognition. There are different types of tragedies that incorporate revenge, violence, domesticity, social class, and comedic plots. | ||
The revenge and violent tragedies were closely associated with the Elizabethan Age.<ref>Lethbridge, Stefanie, and Jarmila Mildorf. "Revenge Tragedy/Tragedy of Blood." <i>Types of Tragedy</i>. N.p., Mar. 2004. Web. <http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/DramaSubgenres02.htm></ref> They mainly used massacres, revenge, damage, and spirits in order to evoke sadness in the audience. The characters in the play paid close attention to social rankings. | The revenge and violent tragedies were closely associated with the Elizabethan Age.<ref>Lethbridge, Stefanie, and Jarmila Mildorf. "Revenge Tragedy/Tragedy of Blood." <i>Types of Tragedy</i>. N.p., Mar. 2004. Web. <http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/DramaSubgenres02.htm></ref> They mainly used massacres, revenge, damage, and spirits in order to evoke sadness in the audience. The characters in the play paid close attention to social rankings. For example, the greater the hero was to society, then the more likely he or she was to fail, or experience disheartening circumstances. This type of tragedy was frequently written in varying poetic forms. Aside from the extreme use of violent action to evoke certain feelings from the audience, the revenge tragedies mainly used “play-within-a-play” structures as a way of heightening the chaos. Some prime examples of this type of tragedy are Christopher Marlowe’s ''The Jew of Malta'', Shakespeare’s ''Titus Andronicus'', and Thomas Kyd’s ''The Spanish Tragedy.'' <ref>Lethbridge, Stefanie, and Jarmila Mildorf. "Revenge Tragedy/Tragedy of Blood." <i>Types of Tragedy</i>. N.p., Mar. 2004. Web. <http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/DramaSubgenres02.htm></ref> | ||
For example, the greater the hero was to society, then the more likely he or she was to fail, or experience disheartening circumstances. This type of tragedy was frequently written in varying poetic forms. Aside from the extreme use of violent action to evoke certain feelings from the audience, the revenge tragedies mainly used “play-within-a-play” structures as a way of heightening the chaos. Some prime examples of this type of tragedy are Christopher Marlowe’s ''The Jew of Malta'', Shakespeare’s ''Titus Andronicus'', and Thomas Kyd’s ''The Spanish Tragedy.'' <ref>Lethbridge, Stefanie, and Jarmila Mildorf. "Revenge Tragedy/Tragedy of Blood." <i>Types of Tragedy</i>. N.p., Mar. 2004. Web. <http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/DramaSubgenres02.htm></ref> | |||
The next type of tragedy mainly centered its focus on | The next type of tragedy mainly centered its focus on social rank in society. The middle and lower class were the ones who increased their stance in the social hierarchy by gaining more power and attention. Unlike the revenge tragedies, the tragedies that focused on social class were mainly written in prose, as opposed to verse. The protagonist in this type of tragedy is known to experience a local, or household disaster that is detrimental to his or her life in society. The domestic tragedy has an intended purpose of evoking understanding and compassion within the audience. Although the hero of most tragedies is supposed to display courage, bravery, and determination, the domestic tragedies in modern day society use an [[ anti-hero ]]. The anti-hero does not display the traditional qualities of a hero. Instead, the anti-hero proves to be inconsequential and unsuccessful in his tribulations. The example of this type of tragedy found in the eighteenth century was George Lillo’s ''The London Merchant'': or, ''The History of George Barnwell''. <ref>Lethbridge, Stefanie, and Jarmila Mildorf. "Domestic/Bourgeois Tragedy." <i>Types of Tragedy</i>. N.p., Mar. 2004. Web. <http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/DramaSubgenres02.htm></ref> | ||
The last type of tragedy | The last type of tragedy is that which incorporates comedic relief. They are commonly known as “tragicomedies.” While the events in tragicomedies are often considered with tragic and humorous, their main purpose is to revel a major problem for the character(s), but a happy ending is achieved due to unknown circumstances typically at a time of panic. The greatest examples that display the qualities of a tragicomedy is Shakespeare’s ''The Merchant of Venice'' and John Fletcher’s ''The Faithful Shepherdess''. <ref>Lethbridge, Stefanie, and Jarmila Mildorf. "Tragicomedy." <i>Types of Tragedy</i>. N.p., Mar. 2004. Web. <http://www2.anglistik.uni-freiburg.de/intranet/englishbasics/DramaSubgenres02.htm></ref> | ||
== Modern Tragedy == | |||
There are several key differences between classical tragedy and the modern form of tragedy we can observe today. The first being that the true definition of tragedy has become less precise as time has passed. The primary setting is one that focuses on the status limitations of the common man. The main character may not fit the classical picture of royalty, but rather appear as an average man in an average environment. <ref>Diana Otto. "The Tragic Genre from Classical to Contemporary: King Lear and A Thousand Acres." <i>Modern Tragedy</i>. N.p., 2014. Web. <http://www.yale.edu/ynhti/curriculum/units/2001/4/01.04.06.x.html#j></ref> The second difference is seen in societal oppression playing a much larger role than what is seen in classical tragedies. Instead of a poor decision being made solely by the main character, themes of an unkind and harsh society are highlighted as contributing factors. The last primary difference is in audience affect; a transition is seen from catharsis and pity to true empathy as the plight is viewed as utterly relatable. <ref>Diana Otto. "The Tragic Genre from Classical to Contemporary: King Lear and A Thousand Acres." <i>Modern Tragedy</i>. N.p., 2014. Web. <http://www.yale.edu/ynhti/curriculum/units/2001/4/01.04.06.x.html#j></ref> The change of focus from a mighty royal hero descending to despair to that of a relatable common man facing oppression and everyday tragedy is the primary difference between classical and modern forms of tragedy. | |||
==See also== | ==See also== | ||