Greek
Tragedy
Although we
often use the word tragedy to refer to any movie, novel or play with a sad
ending, the word actually has a much more precise definition.
The First
Tragedies:
Greek
Tragedy originated in 500 – 400 BC in
Aristotle’s
Definition:
In 400 – 300
BC the philosopher Aristotle looked back on all the great tragic plays that had
been written and tried to work out what they all had in common. In his book
‘Poetics’ he listed the ‘rules’ that he believed he had found. They include the
following:
·
A tragedy depicts human frailty in
the face of powerful / insuperable forces – God, Fate, Society
·
The main character (or protagonist)
of a tragedy is a hero who is in some way superior to the average man – of
higher status, more wealthy or just morally better
·
The hero is fatally flawed or has
made a mistake but is punished too harshly for this. This flaw or mistake is
called a ‘hamartia’ in Greek and a classic example of a flaw is called ‘hubris’
– which means being overly proud or arrogant.
·
There is often a sense of
inevitability or inescapability – whatever the hero may do he ends up bringing
his doom closer. As such many tragedies often feature a prophet or oracle who can see the future but is powerless to change the course
of events.
·
There is often a moment of realisation (the Greek word is ‘anagnorisis’)
when the hero suddenly realises that he is doomed
and, even worse, that he has brought his own doom upon himself
·
Most importantly a tragedy should
evoke the feelings of fear and pity in the audience. They should pity the
people who are suffering in the play and fear that the same thing could happen
to them
Oedipus Rex
One of the
‘best’ tragedies according to Aristotle was ‘Oedipus Rex’ written by Sophocles,
which tells the story of the king Oedipus who, through a series of twists of
fate and unfortunate coincidences, ends up killing his father and marrying his
mother. Incest is a favourite theme of the Greek
playwrights.
Miller’s
Definition:
Miller,
however, disagreed with a number of Aristotle’s points. Most importantly he
argued that you don’t have to be a hero in order to have tragic things happen
to you: tragic things can happen to normal people too. Miller argued this point
of view in an essay called ‘Tragedy and the Common Man’ which can be found on
this webpage.
Eddie’s Fatal Flaw:
Eddies
hamartia (flaw), however, seems simpler at first sight: he breaks social rules
by lusting after Catherine who is essentially his daughter and thus beyond his
reach. However, a closer examination suggests that, in fact, Eddie’s flaw is
not his sexual desire in itself. Rather it is Eddie’s inability to recognise or admit to himself that
he desires Catherine. It is this refusal to acknowledge the truth that results
in his death at the end of the play. If Eddie could have come to terms with his
attraction to Catherine he would at least have been able to understand why he
was jealous of Rodolpho and this could perhaps have
prevented him from turning Rodolpho over to the
authorities. Eddie’s mistake, therefore, is not being fully aware of himself.`