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The characteristics of modern tragedy
The characteristics of modern tragedy
Characteristics of comedy
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Attributes of comedy and tragedy blend into a new form of drama – tragicomedy. Not to be confused with black comedy or dark humor, tragicomedy is not a “parody of tragedy”(Roche) Tragicomedy, according to Karl Guthke, is “an ambiguous work that integrates tragic and comic moments simultaneously and in tension with one another.” (Roche) While other sources consider tragicomedy as a “loose mix of succeeding moments of tragic and comedic moments.”(Roche) Nonetheless, the definition of what a tragicomedy is lies in the literary elements of tragedy and comedy elements and how both draw in complexity of human emotions and actions. When evaluating tragicomedy, it is important to note that tragicomedy is not juxtaposition to one another but are in a synthesis often using irony as key. (Roche)
Comparing the definition of tragedy from the times of Aristotle to the times of modern age, modern tragedy tends to be a drama with an unfortunate ending, whereas ancient tragedy was just a serious drama with no need to have an unhappy ending. (Roche). Tragedy brings insight into human irrationality. C.S. Lewis describes tragedy as a means of “bring[ing] people out of petty and into awareness” (Wheeler) Tragedy is depicted by the harshness in decisions and actions made by people. It is often related to suffering, severity, and fear. Works that use tragedy as a main device often develop characters that embody tragic elements. Typically, the tragic character develops hubris, which is the character’s “desire to reach beyond what is possible” (Wheeler). As a result, the tragic character ends up suffering due to misjudgments. Leading to describe tragedy as “a way to antidote human foolishness”. (Wheeler) As the character progresses, th...
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Williams, Tennessee. A Streetcar Named Desire. Ernst Klett Sprachen, 2008.
Works Cited:
• "Comedy and Tragedy." Comedy and Tragedy. N.p., n.d. Web. 15 Mar. 2014. .
• Cook, Christian. "What Is Comedy and What Makes Something Funny?" :: Language Foundry. N.p., n.d. Web. 15 Mar. 2014.
• Wheeler, Kip, Dr. Some Thoughts About Tragedy. N.p.: Carson-Newman University, Mar. 2014. PDF.< http://web.cn.edu/kwheeler/documents/Tragedy.pdf>
• "Aristotle’s Concept of Tragedy." NeoEnglish. WordPress, n.d. Web. 12 Mar. 2014. .
• Roche, Mark William. "Tragicomedy." Tragedy and Comedy: A Systematic Study and a Critique of Hegel. Albany, NY: State University of New York, 1998. 255-57. Print.
Aristotle states that "For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation of character: character comes in as subsidiary to the actions. Hence the incidents and the plot are the end of a tragedy; and the end is the chief thing of all.
The tradition of the tragedy, the renowned form of drama based on human suffering that invokes an accompanying catharsis, has principally become a discontinued art. Plays that evoke the sense of tragedy-the creations of Sophocles, Euripides, and William Shakespeare-have not been recreated often, nor recently due to its complex nature. The complexity of the tragedy is due to the plot being the soul of the play, while the character is only secondary. While the soul of the play is the plot, according to Aristotle, the tragic hero is still immensely important because of the need to have a medium of suffering, who tries to reverse his situation once he discovers an important fact, and the sudden downturn in the hero’s fortunes. Arthur Miller’s Death of a Salesman is the modern tragedy of a common man named Willy Loman, who, like Oedipus from Oedipus Rex by Sophocles, exhibits some qualities of a tragic hero. However, the character Willy Loman should not be considered a full-on tragic hero because, he although bears a comparable tragic flaw in his willingness to sacrifice everything to maintain his own personal dignity, he is unlike a true tragic hero, like Oedipus, because he was in full control of his fate where Oedipus was not.
…The tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing -- his sense of personal dignity. …The underlying struggle is that of individual attempting to gain his "rightful" position in his society. … Tragedy…is the consequence of a man's total compulsion to evaluate himself justly.
Most readers are aware of the many famous deaths or acts of death within the Shakespearean plays. And when the main characters die in Shakespeare’s plays, indeed, the readers would categorize the play as a tragedy. The problem with any tragedy definition is that most tragic plays do not define the tragedy conditions explained or outlined by Aristotle. According to Telford (1961), a tragedy is a literary work that describes the downfall of an honorable, main character who is involved on historically or socially significant events. The main character, or tragic hero, has a tragic fault, the quality that leads to his or her own destruction. In reading Aristotle’s point of view, a tragedy play is when the main character(s) are under enormous pressure and are incapable to see the dignities in human life, which Aristotle’s ideas of tragedy is based on Oedipus the King. Shakespeare had a different view of tragedy. In fact, Shakespeare believed tragedy is when the hero is simply and solely destroyed. Golden (1984) argued the structure of Shakespearean tragedy would be that individual characters revolved around some pain and misery.
A tragedy is defined as a dramatic composition, often in verse, dealing with a serious or somber theme, typically that of a great person destined through a flaw of character or conflict with some overpowering force, as fate or society, to downfall or destruction. The play Antigone by Sophocles displays many qualities that prove to form into the epitome of a tragedy. Tragedy is usually marked with a person of great standing—in this case, a King—who falls because of hubris, or extreme pride. Antigone proves to live up to both of these definitions which is proven through its themes. Sophocles uses many techniques in this tragedy to contribute to the overall theme. This theme is accomplished by creating emotions in the readers to evoke the understanding of the theme. In the play Antigone, Sophocles uses the themes of pride, power, and femininity to convey his overall theme of tragedy.
Aristotle. “On Tragedy.” Literature: Reading Fiction, Poetry, and Drama. Robert DiYanni. 6th Ed. New York, 2007. 2196-2198. Print.
Tragic events can happen as a result of accidents, misunderstandings, or specific situations, hence, they relate little to others. However, tragedy is rooted in the order of our universe because it reveals hypothetical situations that can occur at any time or place. This feeling of uncertainty arouses feelings of pity and fear because we can imagine ourselves having to face tragedy. In Aristotle's Poetics, Aristotle defines tragedy as, “a representation of an action of serious stature and complete, having magnitude, in language made pleasing in distinct forms in its separate parts, imitating people acting and not using narration, accomplishing by means of pity and fear the cleansing of these states of feeling” (Aristotle, 26). A dramatic composition that captures the true essence of suffering and awakens our senses is one that Aristotle would call a tragedy worthy of our praise. He notes, “It is clear first that decent men ought not to be shown changing from good to bad fortune (since this is neither frightening nor pitiable but repellent) and people of bad character ought not to be shown changing from bad to good fortune (since this is the most untragic thing of all, for it has none of the things a tragedy needs, since it neither arouses love for humanity nor is it pitiable or frightening)” (Aristotle, 36).
Tragedy is an imitation of an action of high importance, complete and of some amplitude; in language enhanced by distinct and varying beauties; acted not narrated; by means of pity and fear effecting its purgation of these emotions.
Language or the way in which words are used is one of the most important components of a comedy. Through an intelligent use of word play and the ability to add
According to Aristotle, the importance of tragedy as a genre is to represent action. Thus unity of action purportedly has the strongest implications for the effectiveness of the work itself. Aristotle posits “a story, since it is the representation of action, should concern an action that is single and entire, with its several incidents so structured that the displacement or removal of any one of them would disturb and dislocate the whole.” (Aristotle 27) and deems this claim imperative. A good plot, and thereby an effective tragedy, does not include events, which are not connected to each other or specifically the main plot. In theory, these unconnected events are distracting from the main action and dissipate the tragic effect. With Aristotle’s definition, no sub-plot should exist in tragedy. For all events to be “necessary or [have] probable connection with each other.” (Aristotle 27) none should exist not directly related to the main action. Again, unity allows for the tragic effect to be concentrated, intending to allow for increased feelings of pity and
What is tragedy? Aristotle defines tragedy: "A tragedy must not be the spectacles of a perfect good man brought to adversity. For this merely stock us" (1). Not in every play where a hero dies is considered a tragedy. Also, "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 moral sense". Further "Nor, again, should it exhibit the downfall of an utter villain pity is aroused by undeserved misfortunes, terror by misfortunes befalling a man 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 error or frailty". "Lastly, this man must be highly renowned and prosperous-and Oedipus, a Thyestes, or some other illustrious person" (Quiller-Couch 1). "A tragedy, he tells us, is a play in which the chief characters experience a change from good fortune to bad, and in a comedy, alternately, the change is from bad to good" (Fallon, Themes 210). The tragedy in Macbeth is between friends, but the tragedy in Hamlet occurs within the family.
Theater is a natural outlet for our desire to hear and tell stories, and in some ways it is even more primal and powerful than the written word. At its worst, theater will merely bore; while at its best it will not only entertain but move and shape its audience. Two such genres of theater, or drama, have consistently achieved this effect. Tragedy, represented by the weeping actors’ mask, usually features the title character’s fall from greatness to ruin, guided by the gods or fate. Oedipus Rex, written by Sophocles, is the epitome of classic Tragedy, as defined by Aristotle (96-101). Here, Oedipus falls from kingship to blindness and exile. Drama’s other great genre, Comedy, is represented by the laughing actors’ mask. In Comedy the action is usually propelled by a problem or crisis of some sorts, but unlike tragedy it usually ends well. Lysistrata, written by Aristophanes, is a perfect example of classic Comedy. The farcical story line follows the title character, who rallies the women of Greece to withhold sex from their mates all in the good cause of ending war. At first glance these two genres would seem to have nothing in common with each other. Comedy entails laughter and good feelings while the audience will leave a Tragedy in tears. But the best of Comedy and the best of Tragedy will produce the same affect: catharsis. Catharsis is the purgation and purifying of the emotions, specifically fear or pity. (“Catharsis”) The plays that manage to produce catharsis in their audience are the ones that we return to time and time again. Although catharsis is one of the main objectives of Greek Tragedy (Jacobus 34), Comedy done well will shape and move its audience in the same way. These two classic genres use characters that are co...
As a concept in literature, tragedy can be referred to as a progression of unfortunate events whereby characters undergo severe misfortunes which results to a horrible disaster. The involved characters may be one or more. Tragedy in literature works should basically be in five stages in its normal structure: there should be happy times, an introduction to the problem, the problem should be seen to worsen into a dilemma, the problem should be out of control of the characters and finally the problem should end in a catastrophic or have a grave ending situation. According to Aristotle argumentation, a perfect tragedy should be realistic and having a narrow focus, provoke pity and fear to the audiences, be able to outline traits of a perfect tragic
A tragedy is defined as beginning with a problem that affects everyone, i.e. the whole town or all the characters involved, the tragic hero must solve this problem and this results in his banishment or death [run-on sentence]. A comedy is defined as also beginning with a problem, but one of less significant importance. The characters try to solve the problem and the story ends with all the characters uniting in either a marriage of a party. Although these two genres are seen as being complete opposites of each other, through further analysis one can gather that though they are different certain similarities can also be seen.
There is no doubt that tragedy has changed considerably since Aristotle first wrote the definition of tragedy in his Poetics in Ancient Greece, but these changes raise the question of whether modern tragedy still fits the classical definition of tragedy. Tragedy has evolved greatly since the times of the classical tragedies, including Oedipus Rex and Hamlet, to the more modern forms of tragedy, as seen in The Hairy Ape and Death of a Salesman. Despite its evolution and deviation from Aristotle’s definition, modern tragedy holds by the same principles, and retains the same power and message expressed by Aristotelian tragedy.