[Teacher's comments, etc., followed by exam as submitted]

Dear [Student]

Well, you must be familiar with teachers’ raves, and I’ll join the general chorus. You’ll see some differences marked, but you write seriously throughout and raise issues that are worthy of continued discussion. Most impressively, you show a willingness and power to read our texts on your own, to find elements that extend or complicate the conclusions we reached in class. I daresay you could have raised your hand more than you have if you were seeing these applications along the way, but it also speaks well for you that you’re able to pick and choose your moments and otherwise let the course follow its way. I look forward to seeing more of your work.

Grade: A

[Student name]

Dr. Craig White

LITR 4533

June 14, 2000

Midterm Exam

Part 1:

            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. When examining literature, using the term ‘genre’ can be tricky. For example, Frankenstein by Mary Shelley can be categorized as a Gothic novel. However, this work also has elements of a Supernatural Story and a Horror novel (which was exemplified in our presentations). It should also be noted that some genres are so broad that virtually all other narrative genres can fit underneath them, such as Literature in Film. Therefore, with all of the various genres that overlap or bleed into others, pigeonholing a particular novel into one genre can sometimes be impossible.

            There are, however, two facets of genre that do not mesh together: representational genre and narrative genre. Representational genre can be broken down into three individual parts. Narrator or single-voiced occurs in a work when there is one person telling the story. Typically, this can takes the form of a monologue (such as a one-man show in theater) or a work that has no dialogue. Drama or dialogue occurs when the characters are talking to each other. There is no narrator involved. This is most clearly seen in plays, such as Desire under the Elms or Night Mother. Narrator plus dialogue basically encompasses all novels and some movies and television shows. For example, The television show, Survivors, shows the day to day activities of a group that is stranded on a deserted island. However, there are also segments where the individuals relate personal feelings into the camera in a diary format. 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.

            The Narrative genre refers to the type of story line that a text has. The four top-tier Narrative genres are tragedy, comedy, romance, and satire. While each of these main genres has some distinct qualities, it is important to note that they can flow into each other. Hamlet, for example, is mostly a tragedy. However, there are distinct elements of comedy (with the gravediggers) and romance (with the separation of Ophelia and Hamlet).

            Overall, the idea of genre when teaching younger students literature presents a problem that may be difficult to overcome. Even though an educator can explain that the genres bleed together in some cases, in our society we tend to want our children (and adults) to ‘think outside of the box.’ Any classification system has a tendency to inhibit or crush freedom of thought and expression. For example, a student may find Ophelia’s ramblings comic, not tragic. While this may be hard for the teacher to understand, if the student can back up his or her thought process with a well thought out essay the educator may be hard pressed to say that the student is wrong. Basically, it is of the utmost importance that the educator emphasizes the existence of this problem.

(Time 2:45 – 3:25 June 14, 2000)

Part II

            On the surface, comedy and tragedy seem to be complete polar opposites of each other. In terms of the actual narrative, examining the consequences of the character’s actions reveals the biggest contrast. In Oedipus Rex, Oedipus’ ‘sin’ of not listening to the Gods and trying to avoid his fate assisted in his downfall. Not only does his internal blindness result in him marrying his mother; it also results in a "plague" across his land. In addition, the blindness towards his own fate causes Oedipus to display a decidedly unkingly side when he accuses Kreon of being the source of the woes of the state. The consequences of Oedipus’ actions result in his exile from the state and an unhappy ending to the play. In contrast, a key facet to the comedy genre is a lack of consequences. Oberon, for example, never faces any type of punishment when he deceives Titania. In fact, he is rewarded with being back in Titania’s good graces and the young boy!

            The character development in comedy and tragedy is also very different. In comedy, there is often excess. While examples of this are abound in MND, when Helena feels that she is being made a joke of she exclaims, "have you no modesty, no maiden shame, / No touch of bashfulness." Clearly, this exclamation is spoken in excess. Incongruity is also prevalent in comedy. For example, in the movie, Who’s That Girl, Madonna is coupled with a stodgy businessman. In contrast, tragedy tends to employ more serious characters with more serious pursuits, such as Hamlet trying to meet out revenge for his father’s death and end the corruption in the monarchy.

            Comedy also employs the use of wit and humor. Low comedy tends to have characters that are low in rank (such as Bottom) and have lower intelligence. These characters also use their body as a comic device, such as Beavis and Butthead belching and hitting each other. Higher comedy employs characters of a higher rank and use wit to get a laugh. Bill Maher, of Politically Incorrect, uses his knowledge of political happenings as a social commentary. However, he does so in a funny way.

            It must be said, however, that each of these genres occasionally applies elements of each other. The movie, Natural Born Killers, is an excellent example. The characters go on a crime spree that is decidedly tragic in nature. The comedy is extremely dark throughout the film, however, it also serves as a tragic commentary on our society. [run-on sentence] In a true tragedy, such as Romeo and Juliet, the old companion to Juliet provides a comic relief to the darkness of the play. Tragedy and comedy are also centered around a problem. The ‘problems,’ however, tend end happily in comedy and sad in tragedy.

            The audience appeal for both comedy and tragedy varies depending on the times we live in. During the Depression, comedy and musicals were very popular. Comedy tends to act as a salve for the soul during times of hardship. Conversely, there seems to be rises in the production of tragedy when we live in times of great prosperity, such as the Renaissance. Perhaps it is easier to deal with the harsh realities of life when we are in circumstances where we thrive.

(2-2:45 June 15, 2000)

Part III

            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. Historically speaking, the great rises of tragedy have occurred during times of exceptional affluence. The Greeks, the Renaissance, and the early twentieth century are periods that enjoyed this type of security. Extreme cultural and technological advances marked each of these periods. The Greeks had practically conquered what was known of the world. The Renaissance period was marked by the reign of arguably the greatest monarch in English history, and the early twentieth century saw the rise of some of the greatest technological advances on record. Even though some would argue that we now live in one of the periods of great prosperity, there is not much room for a true tragedy in our society. We have tragedy in the form of the news every day.

            In addition to the historical and formal facets of tragedy, the use of plot is key. Oedipus Rex is considered to be the most true to the form laid out by Aristotle. 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. In Oedipus Rex, Hamlet, and Desire under the Elms, this ‘problem’ is immediately externally visible in the condition of the land. On a basic level, the characters are of a higher status in society. Even though the characters in Desire under the Elms are farmers, based on the jealous reactions of the other townspeople at the party and the sheriffs envious, open admiration of the farm, they are of a higher rank in that particular social structure. The audience, not only expects a resolution to the problem at hand, they also expect the characters to meet some sort of ‘tragic’ end. This is certainly the case in the three plays studied thus far.

            The "Oedipal Complex" is best defined by Iokaste in Oedipus Rex when she exclaims, "how many men, in dreams, have lain with their mothers!" Freud’s theory examines the desire of all sons to kill their fathers so that they can have the mother to themselves. The basic premise is shown in all three plays in varying degrees. In the "Oedipus Complex’s" namesake, Oedipus actually murders his father and marries his mother. In Hamlet, the lack of stage directions enables the director to take liberties with the scene in Gertrude’s bedroom. Desire under the Elms possibly has the most bizarre construct of the "Oedipus Complex" through, not only the ‘mother/lover’ relationship of Eban and Abbie, but through the father/daughter relationship of Cabot and Abbie. As suggested in class, this dynamic being shown over and over throughout various tragedies is most likely a result of the family construct and the fact that tragedy tends to occur with those we are closest to.

            The genre of tragedy has had somewhat of an evolution throughout the years. It does, however, maintain basic elements. When examining the rank of each tragic hero, we have a king, a ‘Byronic’ prince, and the son of a high-ranking farmer. Each ‘hero’ is apropos for the time period in which the play is written. The conflicts are each centered around a real (King Laios and King Hamlet) or perceived murder (Eban’s mother). The comic element within the plays is one of the most distinct elements, while Oedipus Rex had virtually no comedy. Hamlet employs the gravediggers for low humor and quite possibly himself when he is wittily narrating the play. In Desire under the Elms, comic relief is noticed in each scene in which the oafish brothers are characters. It should be noted that while there is a general descent towards comedy, the comedy is quite dark in nature. The underlying theme of "fate versus free will" constantly pops up and in each play a mixture of both is exhibited. Finally, the use of spectacle is seen only in Hamlet, especially in the end of the play. Spectacle is even used in the play within a play. Alternately, Oedipus Rex and Desire under the Elms suppress spectacle. O’Neill possibly felt that to show the lovemaking and murder would diminish the message of the play. It would certainly diminish the use of imagination. Overall, the deeper elements of this genre will continue to fascinate the human mind for the centuries to come, just as it has for centuries past.

(6:30 – 7:30 June 16, 2000)