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Tragedy: Difference between revisions
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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. | ||
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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> | 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> | ||
== Tragedy | == 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>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== | ||