Below are sample passages from student answers to the midterm given in summer 1998. These passages may not cohere into complete answers to every question. Rather, they are intended to suggest a range of possible answers, to offer new insights and examples beyond those introduced in class, and to share the pleasure of your fellow students' contributions.

            At least one sample passage came from every student in the class, whose identity is indicated by initials. A list of students' names appears at the end.

            Part 1: Genre: approximately 20-30 minutes

Using brief but numerous examples, define the concept of genre.

Genre is a term to describe both the kind or type of story being told, and the voices or characters who speak in a story. [MK]

The word genre may not sound familiar to many, but the basic concept is known by all. [JA]

The concept of genre is fundamentally a contract with the audience. It informs the audience of what to expect from what they are about to see or hear. [MOS]

Genre in general refers to a means of categorizing literatures and movies into more specific categories based on what is found in them. However, none of the different genres are fixed and there is quite frequently a "melting pot" of genres in each type of literature and especially in movies today. [EM]

[Genre] is significant because it relays certain expectations to the audience. These expectations can be referred to as a "contract with the audience." When my husband and I attend a James Bond movie we expect romance, sex, beautiful women, and many other things. If the movie does not fulfill our expectations we . . . would feel let down. [ST]

*Why are genres hard to define? (Hint: remember example of "novel" and "spy novel.")

Genres are often difficult to define because so many of them exist. Also, new genres come about as times change. An example of a newer genre is a web page, an interesting concept of the modern computer era. Also consider that within a single genre, forms of yet another genre may appear. Within the realm of movies, for instance, there are comedies, romantic comedies, action adventures, detective plots, and the list could go on.

Genres are hard to define because they are a kind, type, or subject of literature or story that is broader than any particular or specific writing. [EL]

*Sketch out the "representational genres" and the "narrative genres," making sure the two categories are distinct from each other and offering brief examples.

(The following samples are not meant to be complete.)

Single-voiced works include lyric . . . . Skyla's presentation showed how "Jerry's Final Thought" can be seen as a single voiced monologue, and the same can be said of David Letterman's and Jay Leno's opening acts [i. e., monologues]. [Though Hamlet is a drama,] Hamlet reveals many of his frustrating thoughts in the famous "To be or not to be" soliloquy as well. [CG]

A narrator is usually not involved [in drama]. However, some narration may be given at various points in the play to keep the audience informed. Examples of this include Kreon giving some background information at the beginning of Oedipus Rex, and Hamlet's father's ghost relating the events of his own murder. . . .

            Arguably [Desire Under the Elms] is a drama; however, this play tends to fit the world of the novel or epic category. Eugene O'Neill's play makes for easier reading as a novel due to his specific setting descriptions, character emotions, and overall stage instruction. These elements collectively serve a "narrative" purpose and keep the scenes tightly united. [MOS]

[Following review of representational genres on Jerry Springer show]. So as you see, representational genres must not only be applied to literature--which is good being that technological advances are moving us further and further to the television screen and the radio. [CA]

The other main category of genres is narrative genres. This category refers to specifically the plot / action "expected" in genres such as Tragedy, Romance, Comedy, and Satire. . . . This is especially noticeable with the endings in each of these:

Tragedy--Things are going badly, but in the end, the "root" of all the evils is removed.

Ex. Oedipus is exiled and the land is restored to a healthy state . . . . [I]n Hamlet there is a resolve at the end of the play when they exit "bearing off the dead."

Comedy--These usually have happy endings with togetherness involved such as dancing or a marriage. In MND all the couples are united and a blessing is put on them by the fairies.

Romance--Most often these end with a transcendence of sorts. This is seen even in most romantic comedy movies of today. For example, at the end of 9 Months the finally-married couple, after many antics with the initial news of the baby (and them not being married) and a separation brought on by the selfishness of the boyfriend and his dismissal of responsibility, they get married and in the end are a family. In this film, they all join at the end and dance with the baby. This is not a funny scene, but touching instead, despite the dancing. I'm sure this is because the music is a slow "bluesy" sort of song.[EM]

Hamlet falls under the "blanket" of tragedy; nonetheless it also utilizes elements of romance. Wherein, this play depicts a basic plot of good vs. evil and it also shows the romantic element of Hamlet avenging his father's murder. Not to mention, there is the evidence of the actual "romance" that had at one time been between Hamlet and Ophelia. Hamlet is also a witty character as evidenced by his remarks made throughout the play. This element alone captures the essence of satire. Practically speaking, there is probably far more wit intermingled in this play than we as the modern readers can discern. Furthermore, Hamlet's play-within-a-play scheme is ultimately a parody. As Heidi White defined in her presentation, a parody refers to some event that has already occurred and the audience should already be familiar with it such as the sketches of Saturday Night Live. . . .

            I think in this respect genres become increasingly difficult to define, because they can cross over into another's territory. Aristotle particularly set basic rules for these territories so this problem would not arise. However, I am afraid that he would be quite shocked at how many writers have violated his statues he so painstakingly established. [MOS]

*Speaking as a student of literature, as a potential teacher, or as a typical citizen, what advantages and problems does the study of genre present to you compared to other types of literature courses? (such as historical surveys, great author courses, or theme course. You don't have to answer this positively-there are pro's and cons for all types of courses.)

Genres are hard to define because there aren't many pure genres. Many of them overlap and/or subgenres are created. Looking at novels, a story may be considered a novel, but what kind of novel is it? It may be a spy novel, a mystery-murder, a historical novel, etc. So with as much literature as is available to us, it is almost not enough to give a general story classification/genre, one often needs to be more specific and indicate a subgenre. . . . Hamlet and Oedipus are tragedies that might also be seen somewhat as detective stories. . . .

            Honestly, I find the idea of genres--well, maybe not the idea, but the distinction of classification, to be challenging. To determine voices is manageable and/or to determine the narrative category is manageable, but both take some consideration. Having been through college, I can see where this information is valuable in the art of literature. However, I have failed to find a way which is more simplified to convey this information to my students. (Would it be possible to show us an outline showing where these categories fall under each other--a simplified breakdown?) [CA]

By studying the different types of genres you understand what type of audience they can attract and what effects they have on those different audiences. For teaching, if there is a certain mood you want to address or have come across to your students, you will pitch the type of genres to study that contain that feeling. For other literature courses, such as great authors, you can evaluate what types of genres the used and which genres made them the great authors. . . . By also studying genres, you understand what type of person you are and what areas of literature you enjoy. . . . [JD]

There are so many diverse genres in our world today. I feel it would be a unique skill to instill school children with the ability to discern [genres]. [HW]

[High School] Students, I feel, will better understand themselves and why they prefer certain genres over others, when they understand the genre itself. Literature and movies are everywhere, and how we choose them and analyze them tells a lot about ourselves and the education we have received. [SH]

To me, much of the problem with doing a genre based course as opposed to Historical Surveys, Great Author Courses (Shakespeare) or theme courses, is that in studying just Tragedy, you don't only look at Tragedy, but also comedy, romantic overtones, and satire find their way into these plays as well. There is a mixing of genres that could cause confusion, whereas in the others, you can concentrate on a certain period in history, one author, and one kind of theme. In this genre course, we could read from any time in history--from ancient Greece with Sophocles, to 20th century Eugene O'Neill. We study many authors, and themes. A genre course is much more comprehensive involving many of these things at once. But, because of this, I think also we can get a lot more out of it, because of this reason, making it in a way, an advantage! [BJ]

The study of genres is very difficult, in my opinion. There are really no set boundaries. Several can be incorporated into one movie, novel, or other drama. . . . [analysis of mixing of genres in She's Having a Baby and Hamlet] To me, such a broad subject is hard to cover in detail. If it was poetry, most usually it conforms to the rules of specific types. Such a mix would ruin the essence of a poem, but in dramas and movies, the mix is what makes the movie appealing.[EM]

Genres are hard to define. When they are talked about in class a genre seems very simple, but to try to explain or talk about genre in your own words is quite difficult. The second problem pertains to theme. In a class about a particular author, such as Shakespeare, there is a particular theme or themes the author displays in most all of his works. You can concentrate on the theme / themes and look for it in each piece of work you are studying about that author. When you are studying genre, you can't do that. Every genre and sub-genre has its own characteristics. There is more work and thinking involved when you are studying genre. [MF]

There are so many different styles of writing that genre-based prejudices should be avoided. For example, just because one prefers "happier" themes over more somber ones does not mean enjoyment cannot be found by reading tragedy, say, over a romantic comedy. Literature courses based on specific genres can create a preconceived notion at to the material presented. However, literary genres are so broad-based, that a number of varying styles are usually taught. [EMcC]

Two ways of teaching--one way is to study books and see how the genre applies to the book. Another is to study the genre and see how the book applies to the genre. Dr. White teaches the genre. It does help me to have a clearer understanding of the genre. As a typical citizen, who loves to read, I prefer studying the book. [AO]

Personally, if the word genre itself would not sound like a word from a foreign language, then perhaps the concept would be easier to grasp. [JA]

These examples [of narrative genres] do not combine too many elements from the other narrative genres, but when they are combined, defining them can be frustrating. This is the main reason studying genres tends to be more challenging. Some people might consider the course to be frustrating, but if you look at it from a tragic hero's point of view, you will feel successful in the end. (That is, if you live through it.) [KG]

Part 2: Comedy: approximately 30 minutes

Citing examples from A Midsummer Night's Dream and other comedies with which you are familiar, analyze comedy as a genre in both representational and narrative terms.

*Representationally, that is, what are some of the different "voices" in which comedy may appear? That is, what would be some examples of how comedy would appear in each of the representational genres?

*In terms of narrative, what kind of story does comedy tell?

*Describe some of the elements of comedy (as found in our comic theory handout and in class discussion) that are present in the various characters and episodes of MND (and other comedies, as appropriate).

*As a means of transition to tragedy, account for the popularity and appeal of comedy throughout history and particularly in our own time.

[example of comedy with characters + narrator] This is along the lines of . . . The Wonder Years. The narrator is the grown-up version of the boy's life. . . . The audience can identify with the boy's problems, yet laugh along with the narrator's jokes about it. [SH]

[example of comedy with characters + narrator] The only example that comes to mind is Ferris Bueller's Day Off. In this movie Ferris acts as the narrator who gives the audience extra information. [KG]

Representationally, comedies can appear with different voices. Monologues or stand-up comedy are examples of single-voiced comic types. Romantic comedies have multiple characters' voices and the TV shows The Wonder Years and The Tonight Show routinely move back and forth between these forms. [EMcC]

[In comedy] There isn't really much at stake as would be compared to a tragedy. For example, when the characters Lysander, Hermia, Demetrius, and Helena in MND fall in and out of love, we really don't care who ends up with whom because the context and dialogue is so very entertaining; but whether or not Abbie and Eben in Desire fall in love will directly impact other characters' lives as well as their own. [DG]

There are several ways comedy seems to dance in and out of other genres. Sometimes comedy steps into a drama to bring some comic relief to the audience. The audience in Hope Floats is drained emotionally, but when the audience just cannot take it any longer, a sudden burst of comic relief will release that tension. There's one part in the movie when the characters are sitting at the table all depressed. The camera shows the gloomy room, the sad expression of the daughter, mom, and grandma. The audience is in tears, because of what all has happened, then the camera turns to the cousin who is dressed in a puppy costume licking up his food and barking for more. The audience busts out in a relieving laugh. Although the story was sad, comic relief helps the story and audience feel a certain feeling of everything might be okay in the end. [SH]

In a traditional romantic comedy, the two characters destined to be together either don't know each other or don't understand their feelings for each other. But they find themselves meeting or spending a great deal of time together, and it's at the end of the story when everything is happy they realize their love for each other.[JD]

[In a romantic comedy such as When Harry Met Sally] There are two couples destined for each other, but of course their union [as in the process of their coming together?] is prolonged by a series of comedic events that provides the audience with the comic relief and curious anxiety related to romantic comedies. . . . The audience knows they are supposed to be together but somehow blindly the two main characters still are not sure. [EL]

[Regarding tragicomedy in Steel Magnolias] Shelly like Hamlet is also of greatness; she's the beauty of the town and has a series of events that happen which lead to her death. [VW]

Also, comedy can be present in dark comedies that make fun of serious events and the audience has a mixed feeling of whether to laugh or not to laugh. Such as, the movie Fargo has many tragedies within its movie and has moments of characters doing things that are inconsequential to matters of its seriousness. [VW]

Low comedy is simpler [than high comedy] and its characters bungle language rather than knowing how to use it, as when Bottom explains that he will call the players "generally" rather than the appropriate term, individually. [DG]

. . . mistaken identity. When the clown (gravedigger) in Hamlet doesn't recognize the title character and proceeds to say bad things about him, it is funny to the audience.[DG]

[In comedy] We find the characters or their situations funny because of the incongruity between what we are shown and what we know reality to be. [MK]

High comedy is when humor is expressed in a "witty" manner. For example, the comedian Dennis Miller often expresses his humor in a witty manner by telling jokes related to serious issues. His humor is also difficult to identify if you are not intellectually prepared before you hear him speak. To understand him completely, you must often keep up with current events. However, Dennis Miller can cross the line and become cruel. [JA]

Comedies are not as prestigious as tragedies. A tragic feature gains a respect from the audience that comedies do not. The lasting effect an audience receives from a tragedy may be the sole reason for this respect. Comedies provide the audience with a disposable satisfaction. The audience forgets the comic relief much quicker than the effect from the tragic story. [JA]

Comedy probably remains popular because of its appeal to the mass population. It is a type of release, and seeing a comedy usually does not require braveness. Today, comedy might be popular because society does not want to deal with the more pressing issues like ethnic wars or biological warfare. Perhaps this is a frightened society that cannot face tragedy because it is unsure of the future. [CG]

Part 3: Tragedy:

*Describe how tragedy may be considered the "greatest" genre in both historical and formal terms, comparing and contrasting tragedy with comedy and other genres (especially romance).

*Identify the historical periods of our three tragedies. Broadly speaking, what kind of culture has marked the periods in which these tragedies appeared?

*If "plot is the soul of tragedy," what type of story does tragedy tell, and what does the plot of tragedy accomplish in terms of character development and audience reaction?

*Comparing and contrasting the popularity of comedy, what kinds of appeals does tragedy make to its audience?

*How has the genre of tragedy changed across these three periods and our three plays? Discuss types of characters (or tragic heroes), elements of plot or narrative, and spectacle.

Comedy has been popular in all times. People like to be entertained. However, tragedy is usually written in times of national greatness, and is more than entertaining. Tragedy causes the audience to reflect on their own lives and perhaps resolve their own issues. [MK]

Tragedy is the greatest genre, and it could be said simply by default--there is nothing truly great about romance, satire, or comedy. Tragedy is great because of the highs and lows it creates. The other genres do not strive to reach as high and do not plunge as low as tragedy. The characters in tragedies are great characters, usually noble as Hamlet and Oedipus, but can be as simple as Eben.[HW]

Tragedy is not one of the most popular genres, but those that read it expect to find serious people trying to solve a serious problem [CA]

It seems to be that an audience must choose to put itself through a tragedy. . . . [Regarding current demand for comedy,] It is probably safe to say we thrive on it since we are so consumed with our careers, education, families and the acquisition of more possessions. Granted, these achievements are all well and good, but during the achievement process, we seem to have lost ourselves. We are an "exhausted" generation, and we flat out need a good laugh for rejuvenation. [MOS]

Tragedy is often written in times of greatness. Sophocles wrote Oedipus Rex in the fifth century BCE. This was the height of Greek civilization. Shakespeare's Hamlet emerged during one of England's most powerful periods. England possessed lands all around the world. Desire Under the Elms was written by Eugene O'Neill after the turn of the century, and America was emerging as a world superpower. . . . That [tragedy] appears in times of "greatness" shows the risk powerful societies are willing to take. People are not afraid, so they seek a chance to live on the edge through tragedy. [CG]

The Greek culture during 500 BC believed in the importance of the physical and moral will of the individual, and the wellbeing or lack of wellbeing directly affected the health of the state. [MK]

Tragedy is the greatest genre in both historical and formal terms for its endurance and the example that tragedy provides. . . . Looking at the historical sense, tragedy is developed during a time that a nation is attempting great things; in Oedipus's time the Greeks had just conquered the Persians and were just beginning to flex their economic and military muscle. . . . Continuing with our historical theme, Hamlet was made during the rise of the English maritime power-Shakespeare was in the same position as Sophocles in that he was a witness to the rise of the world power of England as a military and economic power in Europe during the 16^th and 17^th centuries. O'Neill was also in the same situation as the aforementioned authors; he saw the United States come into its own after World War 1 . . . . [WC]

Tragedies usually tell a story of a land riddled with problems, and the source needs to be removed to alleviate the problems. The characters often set up the plots themselves, as in Oedipus. If Oedipus wasn't so quick to anger, he would not have killed Laios at the crossroads. This ultimately sets the play in motion and as he the new king must seek the killer of Laios and banish him, not knowing it was him. The story is then this quest for the killer, and if he had not such a quick temper there would be no story. The same is true of Hamlet. If his delay in killing his uncle were not allowed the story would be over. It is his desire for a perfect revenge that gives his uncle and Laertes time to fight back. In Desire, it is Eben's desire for the farm that keeps him from leaving to California as well. But his father wasn't going to just hand it over.[EM]

The major problem usually revolves around some sort of family problem. . . . The idea of disgusting, rotten corruption [in the states in Oedipus and Hamlet] can also apply to the farm in Desire Under the Elms. Here, the land is rocky and infertile; it is not prime agricultural land. In this case, the relation could go back to the hard life of Eben's mother. Maybe her farm is avenging her death. The same idea could apply well to Oedipus Rex. King Laios's former kingdom might be avenging his murder through lack of crops and other turmoil. [CG]

[In Desire], the forces the farm places upon the characters are tragic, because it leads them to lust for a farm; lust in incest; lust in greed; lust of nature and leaves its characters in isolation by its stone walls and family anguish and hostility. [VW]

Plot is the soul of tragedy. . . . [At the start of the play] we see Oedipus as a reigning King with the utmost security, but is he really? As the play progresses, Oedipus is portrayed as a rather uncontrolled character not able to live up to his mistakes. [SMcC]

The plot of a tragedy is created by the characters themselves. . . . Eben's downfall was the obsession with his mother that drove him into the arms of the conniving Abbie.

            The problem presented in a tragedy is one that affects not just the main characters; it affects the world around them. . . . In such cases where the problem to be solved is so severe and detrimental to others, the audience expects a resolution. . . . Thus, the problem / poison, dead bodies, etc., are removed / exiled / buried forever. [CA]

Before their removal, [the tragic characters] have learned something about themselves--their own weaknesses. Wherein, we the audience follow their same course. [MOS]

The higher up [the character], the farther the fall. Tragedy involves pity and concern for these great people. If a low person fell, figuratively, it would not elicit pity. In the first place, they do not have much to lose. What's so tragic about a poor person being put in jail? At least then they are assured three meals a day, right? If a rich man is put in jail, it is tragic. "Poor" guy is not used to living like that. Literally speaking, it is more funny to see a poor man fall than a rich man fall. It's okay if we laugh at the poor guy but not at the rich man. [AO]

Tragedy . . . challenges our emotions to great lengths. We cannot just relax and feel at ease while reading or watching a tragic scene, like we could watching a comical scene. Tragedy runs deep within our own lives and sends our emotions to a higher level. . . . In comedy we laugh at the silly pain of the characters, like the Three Stooges. We know it hurts to squeeze someone's nose, but they are laughing, so we laugh. . . . Tragedy gives the audience a deep heart tearing emotion that makes the audience release a certain tension. Comic relief also releases a tension, but tragedy drains the viewer or reader to feel a release of stress built up. The audience can let go of the inner self and sort of cleanse the soul. . . . The characters are more developed and defined to cause the viewer to have a more personal attachment . . . . [SH]

Aristotle would probably disapprove of a farmer as a tragic hero because a lower class such as that "flirts with comedy." But [Eben] could easily be compared with Hamlet as "heir" to a country or "farm." [MOS]

In the past, it was believed that tragedy had no spectacle. It was not necessary because tragedy appealed to the individual, to the intellect. It appealed to us internally. [Regarding the repression of spectacle in Desire], Omitting spectacle from the stage has more impact on the audience because it internalizes the scene or act. The individual is made to "think" about what happened, they have to retrieve from their own [mind?] in order to draw a picture. [AO]

[Regarding the repression of spectacle in Desire] The killing of the baby was done off stage . . . . If we had seen it, we might not have been able to accept that Eben still loved Abbie after it was all over. The final scene would lose its romantic hues and we would carry our anger of Abbie's act over to that.[EM]

Seeing the killing might have given off too much. Just imagining and letting it be more of a personal and hidden action was probably for the best. Seeing everything isn't always good. Having your mind wander to different heights is better. [MP]

There is little spectacle in this play and the death of the child is not shown. Yet, the act itself is so disturbing that it keeps power in the plot. If it had been shown, the focus would have shifted and possibly the plot would have been thrown out of proportion. [MOS]

The Modern early 20th Century likes to be entertained but the culture again--under the influence of Puritan values--has become more restrained in their use of spectacle.[MK]

I am a person who longs for less special effects and more meaning. Hopefully, the [entertainment] industry will return to a true plot, rather than true violence. [KG]

. . . tragedies teach us about humanity's place in the world and the consequences of our actions.[DG]