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Tragedy: Difference between revisions
not sure who wrote this, but adding some sources
(not sure who wrote this, but adding some sources) |
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== Some Views on Tragedy == | == Some Views on Tragedy == | ||
* A tragedy must not be a [[spectacle]] of a perfectly good man brought from prosperity to adversity. For this merely shocks us. Nor, of course must it be that of a bad man passing from adversity to prosperity; for that is not tragedy at all, but the perversion of tragedy, and revolts the moral sense. Nor again, should it exhibit the downfall of an utter villain: since pity is aroused by undeserved misfortunes, terror by misfortunes befalling men like ourselves. There remains, then, as the only proper subject for tragedy, the [[spectacle]] of a man not absolutely or eminently good or wise, who is brought to disaster not by sheer depravity, but by some [[hamartia | error or frailty]]. Lastly, the man must be highly renowned and prosperous — an Oedipus, a Thyestes, or some other illustrious person. —[[Aristotle's Poetics|Aristotle, ''The Poetics'']] | * A tragedy must not be a [[spectacle]] of a perfectly good man brought from prosperity to adversity. For this merely shocks us. Nor, of course must it be that of a bad man passing from adversity to prosperity; for that is not tragedy at all, but the perversion of tragedy, and revolts the moral sense. Nor again, should it exhibit the downfall of an utter villain: since pity is aroused by undeserved misfortunes, terror by misfortunes befalling men like ourselves. There remains, then, as the only proper subject for tragedy, the [[spectacle]] of a man not absolutely or eminently good or wise, who is brought to disaster not by sheer depravity, but by some [[hamartia | error or frailty]]. Lastly, the man must be highly renowned and prosperous — an Oedipus, a Thyestes, or some other illustrious person. —[[Aristotle's Poetics|Aristotle, ''The Poetics'']]<ref>Aristotle, Stephen Halliwell, W. Hamilton Fyfe, D. A. Russell, Doreen Innes, Demetrius, Longinus, and Demetrius. Poetics. Cambridge, MA: Harvard UP, 1995.</ref> | ||
* First, the hero. The Shakespearean tragic hero, as everyone knows, is an overstater. His individual accent will vary with his personality, but there is always a residue of hyperbole. This, it would seem, is for Shakespeare the authentic tragic music, mark of a world where a man’s reach must always exceed his grasp and everything costs not less than everything.<br />I think most of us believe that tragic drama is in one way or other a record of man’s affair with transcendence. —Maynard Mack, “Tragic Form and the Jacobean Tragedies” (1970) | * First, the hero. The Shakespearean tragic hero, as everyone knows, is an overstater. His individual accent will vary with his personality, but there is always a residue of hyperbole. This, it would seem, is for Shakespeare the authentic tragic music, mark of a world where a man’s reach must always exceed his grasp and everything costs not less than everything.<br />I think most of us believe that tragic drama is in one way or other a record of man’s affair with transcendence. —Maynard Mack, “Tragic Form and the Jacobean Tragedies” (1970)<ref>Heilman, Robert Bechtold. Tragedy and Melodrama: Versions of Experience. Seattle: U of Washington, 1968.</ref> | ||
* Tragedy should be used to describe the situation in which a divided human being faces basic conflicts, perhaps rationally insolvable, of obligations and passion; makes choices, for good or for evil; errs knowingly or involuntarily; accepts consequences; comes to a new, larger awareness; suffers or dies, yet with a larger wisdom. —R.B. Heilman, “Tragedy and Melodrama” | * Tragedy should be used to describe the situation in which a divided human being faces basic conflicts, perhaps rationally insolvable, of obligations and passion; makes choices, for good or for evil; errs knowingly or involuntarily; accepts consequences; comes to a new, larger awareness; suffers or dies, yet with a larger wisdom. —R.B. Heilman, “Tragedy and Melodrama” | ||