Copied below is the midterm assignment followed by passages from student midterm essays in response to it. The passages are posted as received, so some editing errors may remain. The primary purpose of this posting is so that present and future students may see models of outstanding work in fulfillment of this assignment.

For an example of a complete student essay exam in response to this assignment, click here:  

Open-book, open-notebook exam.  You can use any relevant sources aside from direct coaching or contributions from another person.

Midterm Essay Assignment: Write a complete essay discussing and exploring the following assertion: “Tragedy is the greatest literary genre in western civilization.” Organize your essay and explain, defend, question, and/or challenge the assertion by developing the following sections:

·         Introduction setting up the assertion of tragedy as the greatest literary genre and your position or thesis on this assertion

·         The concept(s) of genre.

·         The major differences between Tragedy and other comparable genres, such as Comedy (especially) and Romance.

·         The evolution of tragedy in western civilization.

·         Conclude by refocusing on “greatest genre” assertion

Other requirements:

·         For examples, refer primarily to the four plays we’ve read: Oedipus Rex, A Midsummer Night’s Dream, Hamlet, and Desire Under the Elms.

·         Also refer briefly to at least two presentations.

·         You may also refer briefly to other examples of genres from your own experience beyond this course.

·         Refer to the webpage midterm samples at least once.

·         Even though there are several required subject areas, organize your exam as a single long essay centered on the “greatness” assertion. Make transitions and connections between parts.

Describing tragedy as the greatest literary genre in western civilization is based on the idea that tragedy addresses the flaws of society, inspires a search for truth, and most notably, tragedy stands the test of time.  Tragedy creates an atmosphere where we can address and analyze the flaws of society.  One example is the idea that tragedy often incorporates within it topics that are not ‘appropriate’ and thus allows for an avenue of critique on those topics.  Such topics may include incest, adultery, murder, and/or suicide.  Incorporating these difficult topics into tragedy tends to take away the ‘taboo-ness’ of the topic.  When we no longer refer to the status-quo, which is what tragedy consists of, challenging the status-quo, we allow the people of our society to recognize the frailty of humanity.  Tragedy leads the audience to a search for truth, that often brings to mind the social or psychological problems of the day, and addressing them, the audience feels a sense of gratification in addressing the problems of the times.  Thus, tragedy is personified in the fact that it touches each of us to the core, cultivating a sense of weakness and compassion that cleanses the soul.  Truth, often dismissed for comfort, lends to a greater understanding of the whole, and in this sense tragedy delivers.  While defeating the status-quo, sort of speak, tragedy triumphs by lingering in our minds, our hearts, and ultimately in our societies and transcends time.  Tragedy as a whole is more than words on paper being acting out in such a way that pulls at the heart of the audience, it lingers in the thoughts of the participants, the onlookers of such a catastrophe, and thus removes the age from the play.  Tragedy is always relevant, and a perfect example is the idea that several hundred years later we are still studying the causes and effects of it.  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” (Sylvia Duncan 00)  Because tragedy consumes our thoughts, it is a vital part of our society and demands attention.  In retrospect, tragedy would naturally demand our attention simply because it does address us individually in such a way that no other medium can… earning the power to invite us once again to be in awe of it. [JD 02]

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I believe that tragedy is the greatest literary genre because of the concepts that it encompasses, of the way tragedy represents life better than comedy and romance, and the way that it has evolved through the sands of time. [EN 02]

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Tragedies test the stamina of man and produce a transformed man who has a better understanding of his strengths and weaknesses.  If tragedies embody the complexity and calamity of life, why is the reader/viewer captivated by it? [RR 02]

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Referring to tragedy as the greatest literary genre does not mean the reader or watcher enjoys being tormented with sadness, but that he or she wants the overall stimulation that tragedy provides. [LR 02]

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The evolution of tragedy is unique.  However, throughout the periods of tragedy there is one constant that remains conclusive; tragedy leaves us pondering the events we have witnessed with a deeper impression.  In the end, the effect of tragedy has a much greater and longer lasting impression on people than other narrative genre in literature. Plays such as Oedipus Rex, Hamlet, and Desire under the Elms reinforce the opinion that tragedy is greatest literary genre of western civilization. [BY 02]

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            Tragedy is the greatest literary genre in western civilization.  According to Cara Skinner, "tragedy 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."  As exemplified in Oedipus Rex, A Midsummer Night's Dream, Hamlet, and Desire Under the Elms, tragedy inspires search for truth, gives voice to taboo topics i.e. child murder, is flexible, and permits insight into human condition, fear, pity, and depth of character.  One might ask, how does tragedy address these issues? The answer is through genre.

            Sylvia Duncan states that "authors, readers, and those in literary circles use the term 'genre' to classify the different modes of expression used in individual works of literature."  Thus, the study of genre exercises the critical act of classification or categorization.   This leads to the conclusion that genre is descriptive instead of prescriptive.  Genre can be divided into three non-exclusive categories.    Due to the fact that these categories often overlap, you'll find some literary works with two or more of these categories intertwined in its story.  "Genres are constantly changing, adding on, and making adaptations as society, culture, and technology dictates" (Scott Stewart). 

            Genre is representation, narrative, and subject.  That is to say it refers to the number and types of voices (representational), refers to the kind of story or plot that a work of literature tells or enacts (narrative), and/or refers to the content, subject matter, "special interest" or "audience appeal" of a text (subject). [CW 02]

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The aspect that tragedy impacts the reader/viewer and causes a reaction is essential to the “greatness of tragedy”.  The impact provokes the reader/viewer to think about the problem that tragic heroes like Hamlet and Oedipus face and realize Shakespeare and Sophocles cater to the audience’s need for real issues.  After contact with tragedies, the reader/viewer is changed by what is seen.  The reader/viewer processes the information and applies what is seen as it relates to life and society.  The involvement the reader/viewer has with the characters, problem and resolution is a reason tragedy captivates. [RR 02]

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Although one may not experience the act of trying to save a kingdom from a plague, a person may be faced with his/her own personal moral dilemma.  An example is a pregnant woman who decides she cannot keep her baby because of financial difficulties or her lover refuses to marry her.  She gives the baby up for adoption, but she lives with the trauma of someone else raising her child.  Is this tragedy because she is common?  Of course, we know nothing about the woman, only her problem.  Does this captivate our attention?  In Oedipus, he is the tragic future king who is separated from his real parents and left to die in a field.  Why does this command our attention more than the woman we know nothing about?  [RR 02]

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We use genre to classify and categorize literature, drama, and movies.  In my experience working in a video store, I discuss genre on a daily basis.  Whether we realize it or not, it is only natural to categorize items (movies) based on what they have in common.  Rarely does a customer ask for a specific movie, but rather a comedy, romance, or a Meg Ryan movie.  [JL 02]

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The word genre is descriptive rather than prescriptive in its very meaning. A genre is a type or class of literature, which denotes a certain sense of classification or taxonomy. Genre involves a critical and analytical process in which audiences make judgments and form specific expectations. It’s as if genre has a contract with its audience. While there are no specific set of rules for different genres audiences come to expect certain things or certain emotions from them. For example, when I go to see a Martin Lawrence movie, I expect to laugh. When I read a Mary Higgins Clark book, I expect to get caught up in murder and intrigue as the characters try to solve crimes and protect themselves from the killer. While there are no rules that must be followed in the different types of genres, there are certain things that can be associated repeatedly with the genres.

Genre can be classified into three relatively broad categories: representation, narrative, and subject. Representational genre allows us to examine the number and types of voices in literature and comes in three forms. The single voice form is one in which one voice speaks directly to the audience. One example of this concept can be found in Poe’s poem The Raven. There is a narrator basically telling the story. Another type of representational genre is drama or dialogue in which two or more characters speak to each other. This is probably the most common type and the one we see most often on TV and in plays and movies. The third type of representational genre is Narrator + Dialogue. In this type two or more characters speak to one another while a narrator speaks directly to the audience.  We find examples of this in novels and in movies such as Jesus’ Son or Smoke Signals. Burney brought up an interesting thought in his movie preview’s presentation when he brought to our attention that movie previews rely heavily on narrator + dialogue.

Subject genre deals with the content or subject matter of a story, such as “a thriller”, a “crime story”, or a “guy movie”. Subject genre relies heavily on audience appeal. It makes a definitive connection between the audience and the subject of a genre. Earlier I mentioned Martin Lawrence movies. I made that distinction or classification based on subject genre. I was glad to see that Curtisha Wallace also made the connection of Martin Lawrence movies to subject genre in her presentation on comedy.

Narrative genre deals with the plot of a work of literature of which there are four basic story lines: tragedy, comedy, romance, and satire. [AAS 02]

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Even though each different genre of literature holds its own importance and quality, the assertion that tragedy is the greatest literary genre seems to hold true over and over during the history of literature.  Great tragedies written in B.C.E.,  such as Oedipus Rex and Hamlet are still being read and acted out today, which proves their greatness.  [CB 02]

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Representational genre in essence points out the voices the audience “hears.”  In Hamlet the audience watches as the characters play out the drama, but occasionally Hamlet orates seemingly to himself.  In truth, these are for the audience’s benefit allowing the observer to understand Hamlet’s thoughts and the coming and/or past action.  The narrator can be an actor the audience is familiar with, a chorus of people designed for the soul purpose of giving information, an unseen voice overlaid with the action or as demonstrated in Laura’s presentation words simply scrolling across the screen.  The intent of representational genre is to show the audience something, to tell a story.

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Drama or dialogue is another type of representational genre. In the first scene of Hamlet the dialogue between Bernardo, Horatio and Marcellus takes on the real voice of conversation. You can imagine the friends sitting around discussing the possibility of ghost and goblins. [KG 02]

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The last example is narrator and dialogue.  A fun example of this are those old Goofy cartoons where he is made to look and do many different things.  The narrator is speaking and then Goofy has conversations with others.  (I know this is not a tragic example, but it is what came to mind.)  [CAB 02]

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Narrative genre refers mainly to the plot or story of a piece of literature.  The four basic storylines of narrative genre are; tragedy, comedy, romance, and satire.  Although one storyline is quite different from the next one, they are often seen interweaving with each other in one work of literature.  As Burney Young spoke about in his presentation, movies often fall into a combination of these storylines.  One example would be a romantic comedy such as, Sleepless in Seattle.  An example of this in our readings comes from Hamlet,  where you have tragedy, comedy, and romance.  In this play we see tragic death occur, a love story between Ophelia and Hamlet, and comedy with the gravediggers.  The same combination can be found in Desire Under The Elms as well, where there is romance between Eben and Abbie, comedy with Simeon and Peter, and tragedy when Abbie kills her son. [CB 02]

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I think that genres that are mixed together make up the best story lines. I mean for example Shakespeare’s “A Midsummer Night’s Dream” has the comedy and the fairytale composition, but all ends well. Then you have a great piece of work like Shakespeare’s “Hamlet” that actually has some low comedy but is very tragic.  These works are great but hold different variation of genres. My concept of genre is what fits somebody else may or may not fit you. I wear a size ten shoe and putting my foot in a size 6 well is painful and does not work. Literary minds want to appeal to the audience, but they want to have variety on the market to be beneficial and satisfactory to their own art. I have a mixed can of nuts on my dining room table it has been there for months and I have picked out what I like most. What’s left in the can is the almonds I hate them, but I got to pick my selection or genre and it was good.

Tragedy is good for the soul and cleanses you spiritually and emotionally. It has always been a wake up call for me and makes me see life better than those through the line of tragic plays, movies etc. Shakespearian plays always seem to leave me thinking and tend to have application to my life, mostly morality lesson. Plays with a happy ending tend to be predictable, but tragic leaves you on the seat wondering. Tragedy starts off with a problem and majority of the time escalates into something unimaginable. In entices an emotion of anger, sadness, hope and even hopelessness for whatever character that is being put through the mill. Tragedy is a wake up call for all who think all is well, it helps us all appreciate our lives and thankful we do not have so much drama in our lives. [LH 02]

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Jim Carrey reminds me of the character Bottom in Shakespeare’s “A Midsummer Night’s Dream”. He is very goofy, but like “Pet Detective” he does not see himself as being goofy. From the discussions in class this is what is considered low comedy and it is intentionally type of work that lets the character make fun of his ignorance. [LH 02]

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As pointed out in example 1 on the web page comedy also uses humor and wit to entertain the audience.   The humor is generally physical as with Bottom from A Midsummer Night’s Dream or Joey from the sitcom Friends.  In both cases the humor comes from the use of the body and on occasion the use of food.  Wit only works in conjunction with humor.  On Friends Chandler’s one line zingers would have no impact if Joey did not set them up with his physical humor. [LR 02]

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The concept of the mismatched partners in each play is partial tragedy and partial comedy.  You see this concept in Curtisha Wallace’s presentation of Big Momma’s House, Lawrence’s character cannot be involved with Long’s character as long as he is disguised as Big Momma.  The relationship can only take place when he reveals his identity.  [RR 02]

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Another aspect of tragedy that makes it great is the reality of it.  The characters and the plot make it more realistic to many people and they can often relate in some personal way.   Tragedy gives us more of a realistic view of life.  Whereas,  comedy is predictable, with restoration and happy endings.   This might make us laugh, but it does not stick with us over time.  Just like with Classic Literature, tragedy is “a book that stays open”.  Tragedy has proved its greatness over the years and is still proving its greatness today, because it truly is “a book that stays open” in our hearts and minds. [CB 02]

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Subject genre is the audience appeal of the work.  It is the content of the subject genre that identifies the work.  If the audience is faced with space ships and aliens, then we are aware that it is a science fiction story.  However, the story may also fall under many more categories.  As with the movie Star Wars where the audience is presented with aspects of tragedy, comedy, fairy tale, westerns and action/adventure.  Crossing these boundaries is part of the appeal because the audience is satisfied on many levels.  The concept of genre seems complicated, but without realizing it the audience is aware of likes and dislikes.  Whether or not the audience classifies works under the guidelines of “genre” the appeal and understanding is still comprehended.

The audience comprehension of genre occurs when first reading or watching a work.  From the onset of the problem the audience is affected by the problem.  In the case of Oedipus the problem is social and destructive.  Thebes has a plague and as the King he is looked to for guidance.  Unknown to him, Oedipus is the cause of the plague.  As he journeys to find an explanation for his countries afflictions, the audience begins to suspect the truth.  It is only when he finds the answers that the true horror of his situation is realized.  This story is tragic and horrifying.  For a tragedy to work the audience must grasp the seriousness of the problem facing the hero.  Hamlet has lost a parent and when faced with the knowledge that his father was murdered he reacts in the way that any child might, he wants revenge.  To complicate his situation, his mother has married the murderer.  Desire Under the Elms connects the audience not only to a love that should be forbidden, but “a murder most foul.”  Tragedy is understood to have a problem that is serious and whose solution will not be easily come by.

            Comedy, in comparison, has a solution that involves celebration.  The problem is one of misunderstanding and mistaken identity.  These situations do not insist the audience emotionally involve themselves.  They are bystanders to the humor and wit, whereas the tragedy draws the audience in emotionally making them part of the drama.  The hero, in the comedy, need only unravel the complications of the mistakes created around him.  Oberon, with the help of Puck, succeeds in fixing the problems Puck earlier created.  He blesses the unions of the three couples and everyone lives happily ever after.  Comedy has aspects of romance in effect bleeding the two genres together.  [LR 02]

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Tragic characters are developed and have a greater significance for society as a whole (Mirsha Flores) whereas comedic and romantic characters will be one dimensional and undeveloped.  The problems in tragedy will be substantial and confront social as well as psychological issues.  The problems in a comedy or romance will be quickly forgotten and replaced with the action of the comedic characters.

From Summer 2000 Tragedy class, Sylvia Duncan states, “Tragedy can easily be considered the greatest of all genres due to the fact that it has withstood the test of time.”  I agree with Sylvia because we have read it in this class.  I have read it prior to the class and the familiarity of the subject matter makes me look at what I read and question “what if and why”.  I realize the effect is never the same when you read a tragedy more than once.  Personally, I never understood Hamlet.  When I read it in 9^th grade because I could not grasp that Hamlet pretended to be crazy.  Later, when I read Hamlet in 11^th grade, I could see he was acting and sizing up the people around him like a detective getting to the bottom of the crime.  Now, in my Shakespeare class, I see each character differently.  I understand what drives Ophelia to suicide (in ninth grade I had no idea that Hamlet and Ophelia were lovers in a sexual sense).  As you grow, and understand yourself and the world around you these plays become easier to grasp.  As Yvonne Hopkins stated, “tragedy is considered the “greatest” genre because it deals with substantial and significant aspects of human nature and experience.”  I understand now that tragedy is best understood when you experience certain aspects of life. [RR 02]

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Tragedy is an emotional connection between the characters, story and the audience.  As the audience watches the hero make his or her mistakes, seeking the justice that is deserved and finally receiving death or banishment as a consequence we hurt and grieve with him or her.  In tragedy the audience laughs and cries having all expectations met.  Where tragedy can bleed over into other narrative genres like comedy and romance the comedy is limited in believability when trying to be more tragic.  An instructor once told me that I would know if I were reading a tragedy by Shakespeare because everyone on stage would be dead at the end.  This narrow view may be true in some regards, but a tragedy by Shakespeare will always be an emotional adventure that leaves the audience talking.  Tragedy, by any author, is a promise to leave the audience feeling as though they were part of the drama.  This is the reason Tragedy is the greatest genre in literature. [LR 02]

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Through the various plays and presentations presented we can see several aspects of tragedy that makes it great. We are taken on a reading journey that encompasses child murder, sleeping with mother, to searching for truth and thus being held ethically responsible.  These situations expose us to human conditions and the depth of the characters involved.  This is all made possible by the flexibility, modulation of genre which helps tragedy change and adapt to differing demands.  As stated on the greatness of tragedy handout, in literature, greatness is often a meaningful but elusive quality; if we can pin it down, it stops being great. [CW 02]

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Tragedy implores something in life that is real and factual that we must face.  “Life is not a bed of roses.”  Tragedy reminds us of that.  No matter how soft the pedals are, the thorns will cut you.  Tragedy deals with substantial and significant aspects of human nature and experience.  Unlike comedy, romance and satire, tragedy functions on a higher more complex level, demanding an intellectual and emotional investment from the audience.  Rather than exploring the trivial and mundane, it highlights heroic strength and nobility of character. (LITR 4533 2000 midterm example). [BY 02]

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As you can see from the proofs in this essay, tragedy not only has a long history of providing reflection, and critique of one’s life, but of the times.  It seems to demand of us a higher appreciation for its contributions to history and our society today.  Without a doubt, we love tragedy, although it be brutal and unwavering in its abuse, human nature cries out a need to be faced with human flaws and frailties.  As to why we see tragedy during our most successful times in history, I must credit this strange phenomenon to the ideals of the times… during times of great success, we can approach such ‘dangers’ as allusive, yet in distancing ourselves, we find freedom to confront the issues.  It must be noted that tragedy in essence reminds us that we are human – we are not gods, we are weak, and often wicked, thus with tragedy we are relieved to conclude that we are yes, ugly in our frailty, but not responsible for human perfection.  Thus, tragedy actually takes the pressure off of the individual and shifts our thinking to that beyond our realm of natural human thinking. [JD 02]

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