Copied below are selected passages from student answers to the 2000 midterm. Contributors are indexed by initials. A list of names corresponding to the initials appears at the end of this page.

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.

For examples of complete student midterms, return to the "Model Assignments" page.

Part 1: Genre (approximately 30 minutes)

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

·        What is a genre? What are some problems in defining the concept?

·        Review the “representational genres” and the “narrative genres,” making sure the two categories are distinct from each other and offering brief examples. You may paraphrase the handout, but avoid simple copying--vary your contribution with new phrasings and examples.

·        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? (e. g., historical surveys, great author courses, cultural literature, or theme courses.  You don’t have to answer this positively—there are pro’s and cons for all types of courses.)

Authors, readers, and those in literary circles use the term ‘genre’ to classify the different modes of expression used in individual works of literature. The importance of this term can most easily be understood when examining the human tendency to classify the majority of items in our society. Everything from cars (Civic DS and Civic ES) to food (Italian and Mexican) is grouped in some way. SD 00

Many people use genre in everyday life, but do not know the term by its name. For example, when someone is reading a book someone might ask what type of book he or she is reading. The person usually answers mystery, romance, etc. this is narrative genre. The video store is another place that you may see sub-genre’s being used. There are different categories on the shelves that tell people where a movie may be. Some of these categories used may be: comedy, drama, horror, classical, etc…. LP 00

You can even look at movies that are out right now and name their genre, for example, Mission Impossible 2 is overall an adventure/action movie, but this is where we begin to find a problem with classifying one particular genre to a piece of work. The movie is based on an agent trying to find and destroy both a disease and the antidote that is man made. This is obviously where the action portion of the movie comes from, but then you will find that there is also a love story found within the plot also making the movie a romance. This is the problem of trying to pin one genre for literature, because it will have many sub-genres in it also. Anon#2 00

One of the problems in defining the concept of genre is that they are simply a description of that particular category and not a set of guidelines that must be met in order to be named into the category. MF 00

Representative genre focuses on the number of and types of voices in literary work. For example, a church sermon or class lecture is considered to be a "single voice" genre because there is only one speaker who talks directly to the audience. Another example of single voice or narrator genre is the fable, presented in class by Shannon Chamberlain. JS 00

The drama or dialogue is when two or more voices are heard speaking directly to one another as the audience observes; examples of this would be most dramas, plays, or movies and also could possibly be eavesdropping (in daily life). SCh 00

Drama or dialogue uses two or more characters who have a conversation or dialogue with each other. The audience overhears the conversation between the characters. If I were Hermia in A Midsummer Night's Dream or the Queen in Hamlet, I would actually see the use of the drama or dialogue genre when watching the play within the play. I would also be involved in the drama or dialogue genre when I speak with abnother character and the audience overhears. . . .

            The addition of a narrator leads to the narrator + dialogue representational genre. When watching the clip from The Legend of Sleepy Hollow, Cara Skinner narrated to give background ifnormation. There was also dialogue between the characters in the movie. Her presentation was an example of narrator + dialogue. KD 00

The biggest problem in identifying genre is that none of them are absolute or pure. For example, a tragedy (type of genre) may have several characteristics of a comedy and/or romance, both of which are considered individual genres. . . . Genres are also constantly changing, adding on, add making adaptations as society, culture, and technology dictates. For example, the concept of hypertext fiction, presented in class by Ava Zinn, was not even heard of three or four years ago, but it is a common genre in our society today. SS 00

Narrator + dialogue occurs when two or more characters are engaged in conversation while a narrator directly addresses the audience. Examples of this were very common in early "film noir" movies. More modern examples include sit-com, Malcolm in the Middle, and "do it yourself" home repair videos in which two or more people are demonstrating and another is addressing the viewer. SS 00

A novel like Moby Dick is an example of a narrator + dialogue where two or more characters speak to each other yet a narrator speaks to the audience. DH 00

The third type is Narrator plus dialogue. The novel My Antonia is an example, because Jim is remembering the past, but he also has conversations with other people. PT 00

Representational genre allows us to examine the voice of a piece of literature, both by type and number. The narrator or single voice is characterized by one voice that speaks directly to the reader, the audience or another character. Few stage plays use this, with Our Town being the exception that comes to mind, as well as the one-man shows. Poetry makes frequent use of this voice. In Daddy by Sylvia Plath, the author address "Daddy" throughout the poem. Shannon Chamberlain’s use of Aesop’s fable The Parrot and his Cage was another example of this single voice narrative. A second voice option is the drama or dialogue that involves talking between two characters with no narration. All of the plays we are reading in class fit this category as well as Stacy Burleson’s example of Merlin as a legend in film. Finally, the combination of the narrator plus dialogue is just as it seems, a narrator talks to the audience (or reader) but the characters talk to each other. The TV shows The Fugitive, Dragnet, and Twilight Zone come to mind as examples of this. AZ 00

To extend this thought process; it should be noted that when breaking a large work into sections, all three representational genres could be present. For example, A Midsummer Night’s Dream has a type of narrator in the form of Oberon keeping the audience up to date about the happenings of our star crossed lovers, dialogue plus narrator when Helena is bemoaning her fate with Demetrius (page 331), and drama throughout the play. SD 00

Satire is the last of the four basic kinds of narrative genre. Satire is a much more complicated story line than the others, due to the fact that it relies on the previous experiences and/or knowledge of the audience to keep up its integrity. A satire is intended to make a parody of a previous, more serious work. For example, History of the World: Part I by Mel Brooks is a satire of several different cultures throughout human history. The audience needs to understand something about what really happened in those cultures to fully appreciate that movie. SS 00

All pieces of literary work will contain at least one of each of the two types of genre. Most will contain a complex mixture of the different types. For example, Saturday Night Live never has the same combination in the different skits. One skit might be satirical and comical in the narrative genre and narrator + dialogue in the representational. The next might be a representational drama of a satirical romance. The combinations can seem endless. SS 00

All works of literature contain at least one representative and one narrative genre. For example, in the presentation on comedy, the movie Sixteen Candles was dialogue + narrator for representational genre and comedy and romance for narrative genre. SB 00

I think the advantages of the study of genre coincide with the problems that one might face. Today’s society and education premise is based on the distinct classifications or definitions in almost every area of study, including literature. Educators and parents seemed to be stuck on their students/children regurgitating factual information that has been memorized. For example, in the area of William Shakespeare, students are expected to know dates in his life, specific time periods, and works with which he was involved. As a teacher at the high school level in a nearby school district, I see many of the same idealism. In fact, our state funding is based on how well the students regurgitate facts on the TAAS test. The problem with studying genre is that it is far more conceptual than many, if not all, other literature courses and, as mentioned earlier, the concept of genre is overlapped and constantly in transition. There is no format set in stone for the appearance of genre in literary works. The class may be reading a romantic tragedy with several occasions of comedy throughout the work. Unfortunately, many educators and administrators do not find these types of courses efficient in the educational process. Therein also lie the advantages of a conceptual course of study like genre. I can memorize infinite dates and time periods for a test and then forget them in a week. However, studying and learning a concept like genre, and following its various changes and transitions, can be used to read and understand literary pieces for the rest of one’s life. SS 00

Most literature courses discuss the meaning of the work. This can be helpful for the first-time reader. On the other hand, if you have read the play in another literature course and picked it to the bone, it is refreshing to compare. Another dissection would just be going through the motions. People evaluate information differently. It is interesting to gain insight by comparing the plays. KD 00

There can be many problems defining genre. The main problem that I see is the fact that there are many genres and these often crossover and blend together. One of the examples that I thought really showed this blending was Ava’s presentation on hypertext fiction. If the story is truly interactive, then you are free to explore all possibilities: tragedy, comedy, romance, satire, etc. PT 00

Studying literature by way of genre allows for a large sample of many different pieces of literature. It also gives the tools to assist us in judging literature as it allows for comparison and contrast. It opens the door for pieces of literature to talk to each other.

However, since so many different pieces are introduced, there isn’t the time for an in-depth look at the historical setting as there might be in a historical survey class. In the same way the author’s background and writing style aren’t examined as thoroughly as might be the case in a great author’s course. Finally, when considering younger students, the lack of purity of the genres might make it more challenging for the students to grasp. I definitely prefer a genre study for myself, but wonder about it for my students. AZ 00

Genre’s broad scope and lack of pure definition present challenges in approaching it from teaching and learning points of view. However, one of its advantages is that it does attempt to classify and differentiate between literary works. This may help students identify varying styles, and also alert teachers to student preferences. YH 00

The study of literature through genre has both advantages and disadvantages. The advantages include preparing the reader for the upcoming material, increasing audience interest, and illustrating the recurring themes through time. The concept of genre places a label to the piece of literature and therefore prepares and indicates to the reader the feelings it is about to arouse. As a future elementary teacher, I am constantly on the lookout for any methods of increasing my students' interests in reading. By using the names of genres I can entice students to read. For example, if I know a particular student loves ghost stories, i will choose a story in this category and introduce it as such. With this introduction I have captured the student's attention and prepared him or her for the reading.

            Furthermore, the study of literature through genre compared to other courses is more fulfilling and meaningful because it illustrates the same themes through different works. Hence, connections are made witht he different cultures and pieces of literature. Finally, the only disadvantage that might exist in this way of study is that some may find it confusing. This might be caused because they are used to studying on particular author at a time without making connections with the rest of the authors. MF 00

Part 2: Compare and contrast Tragedy and Comedy: approximately 45 minutes

Define, compare, and contrast tragedy and comedy, citing examples from our three tragedies and from A Midsummer Night’s Dream and other comedies with which you are familiar. Compare and contrast the following elements:

·        Narrative

·        Characters

·        Audience appeal

Also briefly review or include the following topics:

·        What comic elements appeared in the tragedies? To what purpose? How were these comic elements changed by the prevalence of the tragic genre?

·        Distinguish between high and low comedy plus humor and wit. Compare and contrast to tragedy.

Tragedy and comedy are two different types of narrative genres. LP 00

In tragedy the character is has great meaning and not seen as just an ordinary person, while in comedy the character may not have a very significant purpose but more as just a person who is right for the moment. LG 00

The narration given by the priest at the beginning of Oedipus Rex portrays more serious consequences than that given by Titania when speaking to Oberon about their troubles. The priest focuses on the despair of society while Titania focuses more on the games they no longer play. MF 00

People watch comedy to be able to distance themselves from reality and take a breather. It is not meant to be taken seriously and that is why people see these as enjoyable. On the other hand tragedy is meant to hit a sensitive note in the audience. Many times a person can relate personal experiences, to those the character is faced with. Tragedies tend to be serious and realistic and often cause an individual to take a look at their lives and the things they do and should not do. A person can go into a tragic film expecting to be emotionally drained before exiting the theatre. LGo 00

While the audience finds a difference in the social class is one aspect defining the difference of comedy and tragedy, they will also find the emotional appeal very different. In tragedy there is a strong since of empathy with the hero. The audience feels the pain of Hamlet as he grieves for his dead father yet we laugh at the lovers torn apart in Midsummer Night's Dream. In tragedy we feel pity for the situation of the hero and fear that such a tragedy could occur to ourselves, yet in comedy there is laughter and indifference. The appeal to the reader is another aspect in which comedy and tragedy differ. DH 00

They are, on whole, two completely different genres, and yet like so many other opposites in our world they have similarities and can be intertwined amongst each other.

In the beginning of both a comedy and a tragedy, there is usually a problem of some sort. The significance and severity of this problem is usually what makes the immediate conclusion to whether the piece is that of comedy or tragedy. In comedy, the problem often has to do with a mistaken identity, a character flaw, a one-sided love affair or some other individual problem. A tragic problem is more extensive, and has to do more with society, such as a curse on the land (Oedipus) because some great evil has been done. In tragedy there is a desperate search for truth or soul cleansing. TP 00

Comedies also begin with a problem, but it is not as serious as that of a tragedy. The problem seems to only affect certain people and is not going to bring about the destruction of the world or society. In the case of A Midsummer’s Night Dream, the problem only involves: Hermia, Helena, Lysander, and Demetrious, and who will marry who. There is also the problem of the dysfunctional marriage of Titania and Oberon, but their quarrels are made humorous to us. In fact, the humiliation of Titania by falling in love with Bottom, is hysterical and is meant to be laughed at. The problems never seem too serious, even the threat on Hermia’s life. It is just casually dismissed and forgotten. PT 00

The endings in comedy and tragedy are quite different. In a comedy there is usually a happy ending, and oftentimes there is a wedding or some other celebration that brings the characters together. Everything ends all wrapped up and tied with a bow. In a tragedy, however, things do not end happily, and usually the hero ends up exiled, dead, or destined to live the rest of his life in misery. Compare the endings of the two Shakespeare plays we’ve read. In the comedy (MND), there is a wedding for three couples, while in the tragedy (Hamlet), the play ends with four people lying dead onstage, including the hero. TP 00

Puck does fix the problem and all’s well that ends well. On the other hand Oedipus’s problem is to find the killer of a King. Anon#2 00

In tragedy the character is has great meaning and not seen as just an ordinary person, while in comedy the character may not have a very significant purpose but more as just a person who is right for the moment. LG 00

The characters involved in tragedies are traditionally more important than those present in comedies. This factor exists because of the preconceived notion that higher class people are to be respected and admired while lower class people are uneducated and closer to beasts. MF 00

Tragedy is a story that deals with a serious problem. This is sometimes demonstrated by the corruption of nature, as we see in Oedipus. It might also deal with the unnatural or supernatural, such as the dead king in Hamlet. In Desire, we constantly hear references to being poisoned. PT 00

As a result of the resolution of the problem in a tragedy, a cleansing of the corruption is experienced by the characters and can be felt by the audience as well. SC 00

Humor is the object in a comical situation, and wit is the statement or play on words that brings the comedy out. For example, if a person swings and misses at a golf ball, that’s humor. When the person behind him says, "Boy, you really got all of that one", that’s wit. SS 00

The characters in Midsummer Night's Dream consist of dukes and duchesses or lower class nobles, and mechanicals or working class people. The nobles engage in high comedy or wit, which is the "exposing of the ludicrous by comparing or contrasting it with something else" (Hazlitt). Demetrius pokes fun at Bottom's performance by saying "No die, but an ace, for him; for he is but one," meaning that his performance is only worth one small portion of a die. Hamlet also engages in wit when he tells Ophelia "O heavens! Die two months ago, and not forgotten yet? Then there's hope that a great man's memory may outlive his life half a year." The mechanicals engage in low comedy, which is defined by being dumb and physical. Bottom, in trying to be eloquent when describing his experience with the fairies states that "the eye of man hath not heard, the ear of man hath not seen" what he, Bottom, has witnessed that night. Puck turning Bottom into an ass exhibits the physical aspect of this humor. Food is also involved in low comedy. Bottom, as an ass, requests oats and hay be brought to him by Titania's fairies. CS 00

Low comedy involves lower characters, such as Tommy from the movie Tommy Boy, who are of a lower intelligence and lower rank. Their humor is gross and sometimes dark. They are often eating and drinking, like Chris Farley in Tommy Boy. On the other hand, high comedy involves characters that are more intelligent and witty. David Spade uses puns, wit, and sarcasm in Tommy Boy. Unlike Chris Farley’s character, David Spade is skinny, very intelligent, and avoids being physical with anyone. SC 00

With the second type of comedy, low comedy, the characters resort to physical humor and "dumb talk," that is the characters are saying something funny but they are unaware that they are being funny. A good example of low comedy is Kramer on Seinfeld, he continually makes the audience laugh by throwing his body around in crazy manners, like a spaz. Anon#2 00

If Hamlet was not such a tragedy its comic elements would be more apparent. The gravedigger scene in Hamlet is low comedy. They are singing and bungling words as they dig graves. When Hamlet pretends he is mad, it is high comedy. The audience is aware that he is not made, and he uses word play in a highly skilled and intelligent manner. An example is also when he stabs Polonius. Hamlet is fully aware that there is a person behind the tapestry and not a rat, yet he plays with his words cleverly and, even though he kills Polonius, it almost has a comic element the way he does so. SB 00

While Hamlet speaks with the gravedigger there is a moment of humor within the play, yet the presence of the human skull never allows the audience to completely feel at ease. Tragedy will have brief moments of comedy which serve to lighten the mood yet never allowing the audience to become completely comfortable. DH 00

With all of the given examples of comedy in the tragedies, the elements were changed to a darker or lower comedy and not the usual light-hearted humor. MF 00

The audience laughs at a stand-up comic's wit, yet this form of comedy is dated. We laughed about jokes revolving around the President and Monica Lewinsky, yet ten years from now a new audience may find this difficult to understand. Yet in low comedy, such as the "I Love Lucy Show" the humor of two women stuffing chocolates in their mouths in timeless. Ten years from now we will still laugh at this lower form of comedy. Low comedy relies on physical humor or on word play that was accidental and not understood by the character. Ricky Ricardo's butchering of the English language was funny to the viewer, yet the joke was unknown to his character. Lower comedy tends to be physical with the characters usually (though not always) from within the same sex. Lucy and Ethel in the above example, the Three Stooges and Laurel and Hardy exemplify that aspect of lower comedy. DH 00

There is often a mistaken identity such as in Midsummer Night’s Dream when Titania falls for Bottom because of the love potion. Mistaken identity or miscommunication was always a part the television show Three’s Company which made it an exceptional hit. TR 00

Part 3: Tragedy and its Evolution: approximately one hour

Use Oedipus, Hamlet, and Desire Under the Elms  as examples.

·        Describe how tragedy may be considered the “greatest” genre in historical and formal terms.

·        Historically, what are the periods of our three tragedies, and what kind of culture has marked the periods in which these tragedies appeared? Compare or contrast with our own time period.

·        Formally, how may tragedy be seen as a higher, more complex, or more significant form of literature compared with comedy and romance?

·        Why is “plot . . . the soul of tragedy?” What is the significance of narrative or plot, and what does the plot of tragedy accomplish in terms of character development and audience reaction?

·        Describe the "Oedipal Complex" in theory and as it appears in our three tragedies. Why do you think this pattern of psychology and narrative recurs in tragedy?

·        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.

Tragedy may be considered the greatest genre historically and formally. It has a lasting power that seems to stretch across time and generations. The reasons for this stem from the powerful issues tragedy addresses and the emotions it evokes in its audience. Tragedies seem to be written during times when peoples and nations feel secure about their country and their futures. During Fifth Century Greece, Athens was the supreme power. It was during this time that Aeschylus, Sophocles, and Euripides wrote their famous tragedies. During the 1600's, Great Britain experienced a period of great empirical expansion. Marlowe, Shakespeare, Johnson, and Kyd composed their tragic works during this time. George Eliot and Thomas Hardy wrote their tragedies during the late Eighteenth Century when Great Britain experienced another period of empirical expansion. While the United States was becoming a major industrial power during the early Twentieth Century, O'Neill, Miller, and Williams composed their famous tragic plays. It seems that people feel secure enough to deal with the great issues and emotional experiences of tragedy when they feel secure about their lives and their country. Today, that feeling of security does not seem to exist; therefore, our society prefers to produce comedies. CS 00

Tragedy may be considered the "greatest" genre in historical and formal times because the tragic genre usually appears in the greatest times in history. For example, Oedipus was written during the Greek/Roman times, Hamlet was written during the Renaissance period, and Desire Under the Elms was written in early 20^th century America. These are all very significant time periods. LP 00

The tragedy is one of the earliest forms of literature and is considered on of the greatest genres of literature. Because of the age of this genre, it stands to reason that many variations have occurred throughout the years to make it reflect that time period. The genre of tragedy tends to be considered great because it occurs during great periods of history, it is about great men, and it is written by great writers. EG 00

Tragedy is higher, more complex, and a more significant form of literature compared with comedy and romance, because it is lasting over time. The characters in a tragedy are memorable and stick out in the audiences mind even after the story is over. Comedy and romance characters are more interchangeable and are easier to forget than the tragic characters. For example, in Oedipus, Hamlet, and Desire Under the Elms the tragic hero is one that you think about after you finish reading. The events in tragedy are so significant and so devastating that the audience has to come away thinking about the characters and events that took place. LP 00

Tragedy is important to read, because you must have bad times to appreciate the good. If you only know good times, your life is boring and uneventful. You don't know how to appreciate it. When a person goes through difficult times, they grow and learn to cope. They gain substance. KD 00

Tragedy can easily be considered the greatest of all genres due to the fact that it has withstood the test of time. Formally, tragedy employs something more complex than other genres. It is not part of a life full of happy endings. It is part of a bigger system of things. It is part of who we are. Perhaps tragedy is simply the art that truly imitates life. SD 00

Often considered the "greatest" genre, tragedy deals with substantial and significant aspects of human nature and experience. Unlike comedy or romance, tragedy functions on a higher, more complex level, demanding an intellectual and emotional investment from the audience. Rather than exploring the trivial or the mundane, it highlights heroic strength and nobility of character. YH 00

Tragedy is marked by a problem of great proportions that must have a resolution. While the problem may seem wholly due to external forces, such as the death of King Hamlet or Eban’s mother, spiritual and psychological factors come into play. This is especially evident in Desire of the Elms. The reader knows that there are extreme internal issues at play with the three main characters. The characters, however, seem to note on a regular basis the things in life that are "purty." However, ‘purtiness’ is always out of reach. For example, when Eban looks at the ‘purty’ land that he cannot have or when Cabot looks at his ever-elusive "purty" wife. SD 00

I feel that the plot of the story as it unfolds tells of human flaws, and that all humans can fall if put into certain situations. The tragic hero is one that the audience feels for, by this I mean that the audience feels the pain and knows that this character is in for a sort of epiphany. The audience feels a since of sorrow for the tragic hero. LP 00

In tragedy, we are also driven to consider the complex question, "Do we control our own destinies?" In Oedipus, we see the main character attempting to exercise his free will over the fate of the oracle, but fail in the attempt. In Hamlet we are reminded of fate by the line, "There’s a divinity that shapes our ends." Then in Desire, Cabot consistently looked to God for direction. These situations don’t allow us to remain passive and simply be entertained when we view tragedy. We must grapple with the tough issues of life. AZ 00

Over time, tragedy has changed in some ways. In Oedipus, the tragic hero is noble in rank and has further to fall as a result of his kingly stature. In Hamlet, the tragic hero is noble, but has a lower rank than Oedipus. Hamlet’s fall is still tragic, even though he is not the king of Denmark. Desire Under the Elms has several characters that have qualities of a tragic hero. The characters that serve as the tragic heroes in Desire, are easier to relate to and the audience can sympathize with the simplicity of their lives as they suffer through tragedy. This democratization of characters lowers the tragic hero when causes comic elements to enter and creates more of a mix of genres. Desire has components from tragedy as well as comedy and romance. The plots are less heroic in nature. Instead of saving the state or country, Desire is a story with a plot centered around one family whose tragedy only affects themselves. SC 00

The culture of the time was very involved with the theater. During the time of Dionysus, the play was viewed as a religious experience and therefore a necessity. They used these plays to reinforce their relationships with the Gods and their sense of community. SB 00

While tragedy has evolved as it has moved toward current times, the plot remains essential to the story. The plot in all three tragedies we have studied forces the tragic hero into action. The action revolves around the solving of the problem presented by the plot., Oedipus must find the killer of the King, Hamlet must punish his father's killer. DH 00

I feel that [the Oedipal Complex] is a common theme in these three plays because it is a very disturbing thought. The Oedipal complex intrigues, but at the same time horrifies people. LP 00

A further aspect the three plays share is the Oedipal complex. Having its roots in biblical and mythical literature, the complex prevails as testament to the primal nature of the relationship between mothers and sons. As tragedy bares the soul and explores issues that invite moral choices, it is no small coincidence that the last unspoken taboo should emerge. Therefore, Oedipus’s marriage to his mother, Hamlet’s obsessive jealousy of his mother’s remarriage, and the haunting influence of Eben’s mother from beyond the grave all serve to drive the plot and the ensuing tragedy. YH 00

In considering why the Oedipal Complex consistently appears in tragedy we must remember that tragedies frequently focus on people who are close to each other, often families. Families are a strong sexual construction. Also playwrights often focus their writing on issues that cause us to examine and reveal psychologically repressed wishes or issues. This is evidence also in the large number of plays that now deal with the homosexuality issue. The public may prefer to ignore these taboo topics, but the complexity and greatness of tragedy wont allow it. We must grapple where there are no easy answers. AZ 00

The characters and plots of tragedy are better developed and the outcomes have a greater significance for society as a whole. In contrast, other genres involve simple or flat characters where the resolution of their problem may not have an effect on the rest of society. Finally, the plot in tragedies in the form of narrative is more fulfilling for the audience. Because of its rich characters and problems, the audience can cleanse itself of their own emotions. For instance, the Oedipal Complex, which is a theory of repressed sexual desires by a son to his mother, can be overcome or dealt with when experiencing the plays. Through reading or observing them the audience can purge repressed emotions and live vicariously through them. In summation, tragedies transcend time to explore the deepest of human emotions. MF 00

The Oedipal Complex plays a large role in these three tragedies. The Oedipal Complex states that young boys are jealous of their mothers and want to kill their fathers whom they see as competition for their mother's attention. We see this actually played out In "Oedipus Rex" when Oedipus kills his father and marries with his mother. In "Hamlet, " according to Freud, Hamlet wants to kill his stepfather to avenge his father but hesitates because his conscience balks at killing a man for having the same feelings for his mother that he has. In "Desire Under the Elms," Eben sleeps with his stepmother and wants to kill his father because he believes his father stole the farm from his mother and was responsible for her death. This type of psychology occurs in these tragedies because this is a very taboo family issue that would cause a deep emotional reaction in the audience. CS 00