Saturday, December 21, 2019

Tragedy In Drama Essay - 1713 Words

Tragedy and Drama In a range of dramatic works from Agamemnon to Hamlet, one sees the range of development of the tragic form, from the earliest Greek to the later Shakespearean tragedies. There are two basic concepts of tragedy: the concept introduced by Aristotle in his Poetics, and the concept developed by Frederick Nietzsche in his quot;The Birth of Tragedy.quot; Many dramas can be reviewed to reveal the contrast between these two concepts of tragedy, and demonstrate the development of the tragic form over time. The idea of Greek tragedy stems from Aristotle’s definition of a tragic hero. In Aristotle’s definition, the tragic hero must be a person of high standing so their fall from glory will be all the more horrible. The hero’s†¦show more content†¦Again, we have a person of high standing in Oedipus, who is neither entirely good nor entirely bad. However, it is Oedipus’ pride that pervades as his tragic flaw throughout the play. It is pride that causes Oedipus to believe the rumor of his questionable parentage and further, to go to the oracle. It is again pride that causes him to leave Corinth in attempt to defy the prophecy of the oracle. And pride arguably causes Oedipus to murder the man he quarrels with on the road, who is actually his father, thus fulfilling the very prophesy he had tried to defy. Oedipus Rex demonstrates the belief in fate, that what is ordained shall be, regardless of man’s attempt to resist his fate. Oedipus falls victim to having poor judgement and letting his pride make his decisions for him, and this ends up becoming his demise. Another of the Greek tragedies is Medea, which is one of the few with a female as the title hero character. Medea demonstrates the changing attitude in Greek drama, and introduces a more human aspect to the hero’s behavior. In the earlier dramas, the heroes were influenced heavily by fate, and the tragic flaw and eventual downfall often had something to do with fate. However, in the case of Medea, we see the hero as falling outside the realm of divine intervention. Though Medea is wronged by Jason, there is no sense of support from the gods in exacting herShow MoreRelatedGreek Tragedy and Modern Drama1107 Words   |  4 PagesGreek Tragedy Modern Drama Tragedy as a form works differently than modern drama when compared to the ancient Greeks. When it comes to modern drama, the main character is usually an ordinary person, someone who is middle class. Where as with Greek tragedy, the main character is someone important and noble, such as a king or queen. Modern drama revolves around everyday problems such as social, economical, or personal conflicts. Greek Tragedies seem to be very linear. It’s mostly about theRead MoreAn Analysis and Comparison of Modern Tragedy in Drama1485 Words   |  6 PagesAristotle thoroughly describes his understanding of the tragedy in the Poetics and bases this conception on certain requirements. According to Aristotle the three most important variables that define a tragedy are plot, characters, and theme. Using Oedipus Rex as a sort of ideal, this philosopher demonstrates how a tragedy functions in order to evoke catharsis while exploring themes and human flaws, or mistakes. In Oedipus Rex, th e main figure, Oedipus the King is a subject of fate, unable to escapeRead MoreThe Glass Menagerie As A Modern Drama And Tragedy1767 Words   |  8 PagesMenagerie as a Modern Drama and Tragedy The Glass Menagerie by Tennessee Williams is classified as a modern drama and a modern tragedy. Modern drama plays are characterized by â€Å"social and cultural changes of America† and focus on more realistic matters. 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He suggests that tragedy is plot driven, and if the plot is set then there is no way around it. In Oedipus Rex by Sophocles, Oedipus is paying for the sins of his father King L aios. Laios was given horrible future by the Gods for angering them when he rapes anotherRead MoreEssay about Book Report on Martin Esslins an Anatomy of Drama1039 Words   |  5 PagesMartin Esslin, an established drama director, scholar, and critic, approaches his analysis of drama by drawing on his practical experience as a director of plays. Esslin implicitly assumes that drama is the most elite of the artistic genres when he directly declares the purpose of his book, which is to answer the question why should those concerned with art resort to drama rather than any other form of communication? Esslin then immediately poses another question that he seems to take as a prerequisite

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