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Differences Between Comedy And Tragedy
Tragedy And Comedy Comparison
Essay on what is tragedy
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Recommended: Differences Between Comedy And Tragedy
A Fine Line
An audience will have no trouble ascertaining whether they are viewing a comedy or a tragedy when viewing a well written drama. Some audience members might be surprised as to how fine the line is between these two genres. According to Roberts and Zweig, when sharing Aristotle’s definition of tragedy, it would contain these key elements, a reversal of situation, a recognition by the protagonist and finally the scene of suffering (1304-1305). These elements were to produce the key components of tragedy through, “fear and Pity” an audience member would experience powerful emotions that would provide a cathartic experience (1303). In contrast a comedy, according to Roberts and Zweig, has a climax where the height of catastrophe is taking place and then the denouement which highlights how the “order is reestablished” (1533). Roberts and Zweig explain how the more chaotic the climax is the funnier the comedy (1533). These same chaotic, misunderstandings and bad behavior can be found in a tragedy. The difference is in a tragedy when the climax is reached the decisions made by the protagonist do not lead to a resolution, rather the result is almost always fatal. The misconceptions that occur throughout the play are met with fear and pity instead of humor and hope. A good writer could perhaps turn his work from a comedy into a tragedy by allowing his characters to make different
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decisions during the climax.
Although the play The Bear is a comedy due to the elements representing low comedy and farce, it could have been a tragedy if the reversal and recognition had come too late leading
to a scene of suffering. One reason The Bear is a comedy of farce is the presence of extravagant language. According to Roberts and Zweig, extravagant language
...ods come for the free drugs that he offers. Johnny is a man for whom we feel pride, shame and pity all at once but such a contradictory character would be unstable and unpredictable. Aristotle defines tragedy according to seven characteristics. These are that it is characterized by mimicry, it is serious, it expresses a full story of a relevant length, it contains rhythm and harmony, the rhythm and harmony occur in different combinations in different parts of the tragedy, it is performed not narrated and that it provokes feelings of pity and fear then purges these feelings through catharsis the purging of the emotions and emotional tensions. The composition of a tragedy consists of six segments. In order of relevance, these are plot, character, thought, diction, melody, and performance. For a comedy the ending must be merry. Instead Jerusalem ends in death.
Aristotle, Antigone and Billy Budd In Poetics, Aristotle explains tragedy as a kind of imitation of a certain magnitude, using direct action instead of narration to achieve its desired affect. It is of an extremely serious nature. Tragedy is also complete, with a structure that unifies all of its parts. It is meant to produce a catharsis of the audience, meant to produce the emotions of pity and fear and to purge them of these emotions and helping them better understand the ways of the gods and men. Tragedy is also in a language in both verse and song. Aristotle's definition is clearly applicable to both Herman Melville's Billy Budd and the famous Greek tragedy Antigone by Sophocles.
No, the “English Tragedy” does not relate to the Queen, that is the first fact that should be established. Instead, it is about English, the language itself. George Orwell warned readers of the negative consequences stemming from the degrading quality of English in both 1984 and his essay “Politics and the English Language”. In both pieces of writing, Orwell is able to demonstrate the effects that language can have on the thoughts of those who speak it. In 1984, he is able to emphasize how the lack of language can limit thought, and ultimately society. In “Politics and the English Language”, Orwell demonstrates how bad English will, “construct your sentences for you” (Orwell, 6) and make the language into a meaningless jumble. Although Orwell wrote in the earlier part of the 1900s, the bad English that he wrote about is still relevant today. Dying metaphors, meaningless words, and pretentious diction are still used in writing by the mainstream media despite the warnings of Orwell.
Aristotle defines tragedy in his respected piece Poetics and many other forms of literature. Many tragic heroes such as Oedipus Rex and Romeo and Juliet fit well into this mold of a tragic hero as defined by Aristotle. For example, they were flawed but well intentioned and their lives ended in a catastrophic death. Those plays, and many others in the genre, had all the elements of a tragedy: plot, character, thought, diction, melody, and spectacle. They were fantastic displays of misery that aroused pity and fear in the audience.
Tragedies in the Greek and Renaissance theater were very effective in portraying the social and religious constraints that tainted society. Both playwrights, through the use of their ingenuity and vast literary knowledge were able to perfect and display such flawless spectacles. The differences and similarities between Greek tragedy and Renaissance tragedy, although vast, can be narrowed down to the audience. Greek and Renaissance theater targeted very different audiences that demanded a certain type of play in order to be entertained.
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.
Aristotle’s Poetics is a “reservoir of the themes and schemes deployed in ancient Greek tragedy and poetry” (Poetics iii). Written around 330 B.C., it was the first work of literature to make a distinction amongst the various literary genres and provide a proper analysis of them. In Poetics, Aristotle places a big emphasis on the genre of tragedy. When one hears of the word tragedy, one already assumes that something bad has occurred to an individual and an immediate emotion of sorrow occurs, but how does Aristotle see tragedy? Aristotle gives us his formal definition of tragedy on page 10: “Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action; through pity and fear effecting the proper purgation of these emotions.” He goes on and explains all the components that make up tragedy. A tragedy must fall into two parts: complication and unraveling (also known as the denouement). Aristotle elaborates on that and speaks of four types of tragedy: “the Complex, depending entirely on Reversal of the Situation and Recognition; the Pathetic (where the motive is passion); the Ethical (where the motives are ethical). The fourth kind is the Simple.
Aristotle insists that tragedy should have the right ending, which generally means that it will have an unhappy ending. We see this in Desire Under the Elms when Eben and Abbie are taken to jail for the crime. Characters in comedy and tragedy are generally quite different. Comic characters are (or used to be) lower class individuals (Aristotle, Goldsmith). Indeed, this is the case with the players in Midsummer Night's Dream.... ...
In contemporary theatre, a tragedy generally includes death and destruction, a romance gone horribly wrong, the hero or heroine’s total collapse, or any combination thereof. It puts the audience in a depressed, angry, or at least contemplative mood. In some ways, the Shakespearean tragedy does fit this mold: there is almost always an excess of dead people, and you can usually be sure you won’t laugh the theatre laughing.
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
A modern tragedy of today and a tragedy of ancient Greece are two very different concepts, but ironically, both are linked by many similarities. In “Poetics”, Aristotle defines and outlines tragedy for theatre in a way that displays his genius, but raises questions and creates controversy. Aristotle’s famous definition of tragedy states:
Many things can describe a tragedy. However, according to definition of a tragedy by Aristotle, there are only five. The play has to have a tragic hero, preferably of noble stature. Second, the tragic hero must have a tragic flaw. Because of that flaw, the hero falls from either power or death. Due to the fall, the tragic hero discovers something. Finally, there must be catharsis in the minds of the audience.
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.
In 350 B.C.E., a great philosopher wrote out what he thought was the definition of a tragedy. As translated by S.H. Butcher, Aristotle wrote; “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Thought, Diction, Spectacle, Melody. (http://www.cnr.edu/home/bmcmanus/poetics.html)” Later in history, William Shakespeare wrote tragedies that epitomized Aristotle’s outline of a tragedy. Shakespeare’s Hamlet is one such tragedy.
In Aristotle’s book, Poetics, he defines tragedy as, “an imitation of an action that is serious, complete, and possessing magnitude; in embellished language, each kind of which is used separately in the different parts; in the mode of action and not narrated; and effecting through pity and fear” (Aristotle 1149). Tragedy creates a cause and effect chain of actions that clearly gives the audience ideas of possible events. The six parts to Aristotle’s elements of tragedy are: Plot, character, language, thought, spectacle, and melody. According to Aristotle, the most important element is the plot. Aristotle writes in Poetics that, “It is not for the purpose of presenting their characters that the agents engage in action, but rather it is for the sake of their actions that they take on the characters they have” (Aristotle 1150). Plots should have a beginning, middle, and end that have a unity of actions throughout the play making it complete. In addition, the plot should be complex making it an effective tragedy. The second most important element is character. Characters...