Essentials of Tragedy

Tragedy:

Tragedy as “the imitation of an action that is serious and also, as having magnitude, complete
in itself; in appropriate and pleasurable language;… in a dramatic rather than narrative form; with
incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions.

"Tragedy is a tool for the living to gain wisdom, not a guide by which to live."
- (Robert Kennedy)

Characteristics:

1. Imitation:

Tragedy, like other fine arts, is based on imitation (mimesis). This imitation does not
reproduce reality exactly as it is but interprets and represents it as it appears to the senses, often
idealizing it. It focuses on universal truths, capturing the essence of human experience rather than the
transient or particular details.

Fine art, including tragedy, seeks to reveal the underlying forms and universal principles of reality,
presenting purified and idealized expressions. It transcends the imperfections of reality to show what is
essential and permanent.

While beauty is a guiding principle in art, Aristotle emphasizes that art’s purpose is not solely the
manifestation of beauty. Instead, it is about observing and evoking profound emotional and intellectual
responses.

Tragedy involves deep emotions and actions, progressing from the external (outwardly observable) to
the internal (inner character and emotions). It addresses the universal aspects of human life and
experience, making it a profound form of fine art.

In essence, tragedy, according to Aristotle, reflects the process of "becoming" — the unfolding and
development of human potential and truth. It captures the essence of life through its portrayal of
profound and universal emotions and actions.

2. Vision of Tragedy:

The essence of tragedy is its deep engagement with the complexities of human
existence and the metaphysical questions surrounding life, morality, and the universe.
Tragedy explores profound questions about life, values, and the nature of the world. It reflects on
whether life is inherently good, evil, balanced, or ultimately inscrutable, often revealing a metaphysical
perspective through its characters and events.

Tragic Worldview:

Optimistic: Some tragedies, like those of Aeschylus, suggest that justice and moral order prevail, even if
characters suffer.

Pessimistic: Writers like Euripides depict a bleak human condition, where life lacks significant purpose or
hope.

Balanced: Some, like Hegel, portray a world where good and evil coexist, leading to eventual
reconciliation, albeit at a cost.

Ambiguous: Shakespeare avoids imposing a definitive worldview, instead presenting the multifaceted
nature of human experience and the complexity of critical choices.

Mysterious: Many tragic works highlight the inscrutability of fate and the awe-inspiring mystery of
human existence.

The tragic playwright is not just a philosopher but an artist. Their works reflect intuitive understandings
of morality, justice, and human values rather than purely rational or empirical truths.

Tragedy dramatizes the struggles of individuals against immense challenges, moral dilemmas, and the
uncertainties of existence. It portrays characters' loyalty, pride, and suffering in the context of a world
that is only partially understood.

In short, tragedy serves as a mirror to the human condition, grappling with life's ultimate questions
while grounding its exploration in the vivid experiences of individual characters.

Catharsis:

Catharsis refers to the emotional effect that tragedy has on the audience, specifically the
feeling of relief and emotional cleansing after experiencing pity and fear. Aristotle defines tragedy as a
serious story presented in a dramatic way, designed to evoke pity (for the suffering of the characters)
and fear (because the audience can imagine themselves in similar situations). The purpose of this
emotional experience is catharsis, a form of emotional release that leaves the audience feeling cleansed
or even uplifted, despite the sad events. Tragic hero experiences a fall from happiness to misery, caused
by a mistake or flaw (like pride, known as hubris). We feel pity because the hero's suffering is greater
than they deserve, and we fear because we see how easily similar misfortunes could happen to us.
The best way to achieve catharsis is through a plot where events unfold from a good beginning, through
complications, to a tragic downfall.

In short, tragedy makes us feel deep emotions like pity and fear, and through experiencing these
emotions, we achieve a sense of emotional cleansing or relief, which is the purpose of catharsis.

"Catharsis is about cleansing and healing at one and the same time - healing memories and attitudes,
healing the spirit and the heart".

(Desmond Tutu)

Plot of Tragedy;

The plot of a tragedy is the arrangement of events and incidents that make up the core
action of a story. The plot of tragedy follows a certain structure and size to effectively tell the story:

1. Size and Length: A tragedy must be long enough to develop its plot but not too long to become
confusing or overwhelming. Typically, a play is about two to three hours long, allowing the story to
unfold naturally without becoming too extravagant.

2. Structure: Every tragedy has a beginning, middle, and end. The plot should flow logically from one
part to the next, with each phase connected and leading naturally to the next.

•Exposition (Beginning): This introduces the characters, their situations, and the setting, giving the
audience enough information to understand the story and get interested.

•Complication (Development): This is where the story gets more complex, and the characters' actions
create suspense and tension, leading to the Climax (a turning point where everything changes).

•Denouement (Unraveling): After the climax, the plot starts to resolve. The issues and complications are
resolved, and the story moves toward its conclusion.

•Catastrophe (End): The tragedy ends with an unhappy resolution, often the downfall of the hero. The
ending must be simple, natural, and believable.

In short, the plot of a tragedy involves a structured progression from introduction to resolution,
highlighting the hero’s choices and the consequences that follow, often leading to an inevitable, tragic
end.

Tragic Hero;

According to Aristotle, a tragic hero is a flawed character who makes an error in judgment
that leads to their downfall.
These flaws are often relatable human imperfections, and their consequences evoke both pity and fear
in the audience:

•Pity: Because someone so noble meets a tragic end, often affecting even innocent people around
them.

•Fear: Because the audience sees how human flaws can lead to disaster, even for the greatest among
us.

For example, in Shakespeare’s plays:

Macbeth is brave and noble but his unchecked ambition leads to his ruin.

Hamlet is a thoughtful prince, but his inability to act quickly brings about his downfall.

The protagonist (main hero) faces conflict, often with an antagonist (the opponent). For example, in
Hamlet, Hamlet is the protagonist, and King Claudius is the antagonist. Apart from conflicts between
people, there can also be inner conflict, like Hamlet’s struggle between wanting to avenge his father and
his hesitation to act.

When a character creates a plan that relies on deceiving others, it’s called an intrigue. For example,
Iago’s scheming against Othello and Cassio in Othello.

In summary, a tragedy revolves around a noble hero with flaws, whose downfall evokes pity and fear.
The story involves conflicts and sometimes intrigues, making it deeply emotional and thought-
provoking.

Chorus:

The chorus was an important feature of Greek tragedy. It was a group of actors who:

1. Reported events that happened off-stage (since Greek theater avoided showing violence on stage).

2. Made moral comments to help the audience understand the story and its lessons.

The chorus was often part of the plot, but sometimes it was loosely connected. It added to the dramatic
effect, especially in early Greek tragedies by playwrights like Aeschylus. Over time, as speaking roles for
actors increased, the role of the chorus became less significant, especially in the plays of Euripides.
However, it still reminded the audience of the power of the gods and delivered moral lessons.
*The three unities;

The Three Unities in tragedy are principles derived from Aristotle's Poetics and were
later developed by Renaissance critics. These unities are meant to create a cohesive and realistic
structure for dramatic works. They include:

•Unity of Action:

A tragedy should have one main plot, without any subplots.

The story should focus on a single, central conflict or event that drives the narrative from beginning to
end, ensuring clarity and focus.

•Unity of Time:

The events of the tragedy should occur within a limited time frame, ideally no longer than 24 hours.

This restriction maintains the intensity and immediacy of the action, making it more believable.

Unity of Place:

The action should take place in a single location.

This avoids unnecessary shifts in setting and ensures that the audience remains focused on the central
events.

These unities aim to maintain realism and coherence in tragedy, ensuring the audience's immersion in
the story. However, not all playwrights strictly adhered to these rules. For example, Shakespeare often
ignored them, blending subplots and multiple locations into his tragedies.

*Fate, Chance, Fortune and necessity or inevitability:

•Fate:

Fate refers to an external force that seems to control human life, often leading to unavoidable
consequences. It may feel mysterious, divine, or predetermined. For example, in Greek tragedies,
characters like Oedipus are bound by fate to fulfill prophecies, no matter what they do.

•Chance:
Chance refers to random events or coincidences that affect the outcome of a story. It has no moral
meaning, but it can create dramatic situations. For instance, Romeo's rashness leads him to a tragic
encounter that feels accidental yet fits his personality.

•Luck or Fortune:

Luck refers to the outcomes shaped by a person's own character and choices. In tragedies, luck often
aligns with a character's flaws. For example, Othello’s misplaced trust in Iago leads to his downfall,
showing how his own nature contributes to his "bad luck."

•Necessity:

Necessity refers to forces beyond human control that dictate events. In Greek tragedies, even gods like
Zeus can be bound by necessity (like the Fates or cosmic laws). This conveys the idea that some
outcomes are inevitable.

•Inevitability:

Inevitability means that given the characters' personalities and the situations they are in, the tragic
outcome was bound to happen. It also refers to the artistic logic of the story, where everything happens
naturally and fits the plot. For instance, King Lear's downfall is inevitable because of his flawed judgment
and family dynamics.

These concepts help shape the meaning and impact of tragic stories, making them emotionally and
intellectually engaging.

Development of Tragedy:

•Classic Greek and Romans:

Greek tragedy is a form of drama that originated in ancient Greece, particularly during
the 5th century BCE. It was performed in outdoor theaters as part of religious festivals, notably those
dedicated to Dionysus, the god of wine, fertility, and revelry.

•Characteristics:
1. Greek tragedies often deal with profound and universal themes such as fate, morality, justice, love,
revenge, and the human struggle against divine forces.

2. The protagonist in a Greek tragedy is often a noble or high-ranking figure (such as a king or queen)
whose downfall is caused by their own actions, choices, or inherent flaws.

3. The role of fate and the will of the gods is central in Greek tragedy. Characters often struggle against
their destiny, but ultimately, they cannot escape it.

4. Unity of Time, Place, and Action: Greek tragedies often follow the classical unities of drama:

Unity of time: The action of the play takes place within a 24-hour period.

Unity of place: The setting is typically one location.

Unity of action: The plot focuses on a single central story, without subplots.

5. Actors in Greek tragedies wore large, expressive masks that helped convey the emotions of their
characters. The masks allowed for a range of emotional expressions.

•Writers:

1. Aeschylus: Often called the "father of tragedy," he introduced the second actor, which made dialogue
more dynamic. His works, such as the Oresteia, often deal with the theme of justice and the
consequences of vengeance.

2 Sophocles: Best known for writing Oedipus Rex and Antigone, he expanded on Aeschylus’s foundation,
adding a third actor and making the plot even more complex. His characters often struggle with fate and
their own actions, as seen in the tragic fall of Oedipus.

3. Euripides: Known for his more emotional and psychological portrayal of characters, Euripides broke
from traditional forms, focusing more on individual feelings and less on the gods. His play Medea is a
powerful example of a character whose emotions lead her to commit horrific acts.

Elizabethan and Shakespearean tragedy;

Elizabethan tragedy refers to the style of tragic drama written and performed during the reign of Queen
Elizabeth I and into the early years of James I, primarily during the late 16th and early 17th centuries.
The most famous playwright of this period is William Shakespeare, but other dramatists such as
Christopher Marlowe and Thomas Kyd also made significant contributions to the genre.
•Characteristics:

1. The basic themes of Elizabethan and Shakespearean tragedy explore the complexities of human
nature, morality, and the consequences of personal flaws and external forces.

2. In both Elizabethan and Shakespearean tragedy, the protagonist is typically a noble or high-ranking
individual (such as a king, prince, or general) whose downfall is brought about by a tragic flaw
(hamartia). For example In Hamlet, Hamlet's indecision and procrastination cause him to delay avenging
his father’s murder, leading to disastrous consequences.

3. Both Elizabethan and Shakespearean tragedies frequently include supernatural elements—ghosts,

In Macbeth, the witches’ prophecies shape Macbeth’s actions and decisions, leading him to believe he is
invincible, which ultimately contributes to his downfall.

5. Elizabethan tragedies often contain graphic violence, and Shakespeare’s tragedies are no exception.
They are filled with bloodshed, murder, and death, leading to a high body count by the end of the play.
For example In Macbeth, there are numerous murders, including Macbeth’s murder of King Duncan and
the massacre of Macduff's family.

•Writers:

1. William Shakespeare:

Widely regarded as the greatest playwright in the English language, Shakespeare refined and elevated
the tragic form. His tragedies are known for their psychological depth, poetic language, and exploration
of universal themes. Major Tragedies:

Hamlet

Macbeth

Othello

King Lear

Romeo and Juliet.

A pioneer of Elizabethan drama, Marlowe was known for his powerful blank verse and larger-than-life
characters. His works often focus on ambitious protagonists whose flaws lead to their downfall. Major
Tragedies:

Doctor Faustus – The story of a man who sells his soul for knowledge and power.The Jew of Malta – A
revenge tragedy centering on a Jewish merchant betrayed by society.

Modern Tragedy:

Modern tragedy represents a departure from the classical and Elizabethan traditions, adapting the
tragic form to the complexities of modern life. Unlike the grand figures of classical tragedy, modern
tragedies often focus on ordinary people and explore existential dilemmas, societal pressures, and
psychological conflicts. The genre has evolved to address the anxieties and struggles of contemporary
life, but still retains certain elements of traditional tragedy, such as the tragic flaw and inevitable
downfall.

•Characteristics:

1. In modern tragedies, the tragic hero is usually an everyman or an ordinary person, often grappling
with societal pressures, personal weaknesses, or moral ambiguity.Example: In Arthur Miller's Death of a
Salesman, Willy Loman is an ordinary, middle-class man whose tragic flaw is his delusional belief in the
American Dream.

2.Modern tragedies emphasize internal struggles and psychological conflict. The characters’ issues are
often not just external forces or fate, but deep emotional and mental turmoil, such as guilt, self-doubt,
obsession, and alienation.

3. In modern tragedy, the absence of meaning and the absurdity of existence are common themes.
.Example: In Samuel Beckett’s Waiting for Godot, the characters wait for something that never arrives.

4. Classical tragedies aim to bring about catharsis—a purging of emotions like fear and pity. Modern
tragedies, however, tend to leave audiences with a sense of emotional ambiguity rather than resolution.
Example: In Waiting for Godot, there is no catharsis or resolution, just the ongoing struggle of waiting.

5. Modern tragedies often serve as a critique of society, exploring themes like class struggle, alienation,
and injustice. The Crucible by Arthur Miller critiques the dangers of mass hysteria and the effects of
social repression.