Genre is a classification given to a story/movie or literary work referring to its contents.  Many times however, the content is not easily placed as many stories are composed of various characteristics of differing genres.  The Tragedy genre encompasses a wide variety of traits but still maintains a specific style of storyline.  In Tragedy, a problem arises which may be central to a specific character or may affect society within the story.  The problem is acknowledged and leads to a search for correction or truth.  It is this negative/positive opposition that generates the energy driving the stories plot.  Once the search for truth is complete, the story’s resolution generally consists of death, banishment, or a silencing of the Tragic Hero (White 4).  Still, the positive and negative charges leave us with a balanced feeling of nothingness at the end of each work.  We do not necessarily care for the main characters nor do we hate them.  The outcome is often their fault by association but many times the actions that occur are simply out of their hands.  Much like life, the revelation of truth brings about knowledge but is often accompanied by pain. 

In a 2004 Web Highlight, it states:

Tragedy is a staple of the human condition. One cannot run from it, or escape it; tragedy is inevitable.  Whether it is the untimely demise of a childhood pet, the loss of a first love, or the death of a loved one, every human in any society faces tragedy.  So why should man be interested in tragedy as entertainment?   Why, if he must face it in time, would he choose to see it performed, or read it alone?  It is because at the heart of tragedy is an unabashed commentary on the raw emotion of the human heart.  It is not processed through the Hollywood dream machine that makes everything turn out all right.  Tragedy is great because it is real, it does not hinge on action, or spectacle, but the success of tragedy depends solely on the strength of the plot.  [DD] (2004)

Because the stories are not infinite, meaning they have an ending or an actual punishment, people are able to relate to the work.  The psychological appeal of the way people react and to specific lifelike situations is enthralling and captivates the reader.  One becomes hooked and is unable to himself/herself from the contents of the text.  Because of these lifelike scenarios, readers become entangled in the text.  The ability to captivate and relate psychological processes to the audience while illustrating the duality of mankind in his mental processes is a remarkable feat.  Tragedy has and continues to do this in a successful manner, making it quite possibly the greatest literary genre.

Deception is the opposite of truth; these two opposites are what make a Tragedy great.  The idea of a lifetime without deception is unheard of and Tragedy plays up to this idea by unleashing deception and its destructive qualities while stressing the inevitability of pain in association with our search for truth.  It seems as though life with out these two polar opposites is relatively impossible.  Without opposing forces to strengthen one another, it appears that life would be dismal at best. 

All stories have various levels of deception to help perpetuate not only the storyline but the lives of individuals in the stories.  Hamlet is a victim of deception as is Ephraim (Elms) and Oedipus, while Puck (MSND) sums up the argument that life creates for all of us.

In Hamlet, Laertes states, “Exchange forgiveness with me, noble Hamlet.  Mine and my father’s death come not upon thee, Nor thine on me!” (406). What Laertes realizes at this time is that neither he nor Hamlet was in control.  There was a higher power at work.  The King and Queen’s deceptive actions led them to their current place in life.  The truth was discovered and the deception revealed and yet not only do the primary perpetrators die but Laertes and Hamlet as well.  So what came of the truth and its pursuit other than a series of deaths?  Life… and this is what makes tragedy such a powerful writing medium.

In Oedipus, Oedipus asks, “Ah, what net has God been weaving for me?” (p 82).  Oedipus has reasoned in his mind the deceptive quality of God.  He blames God for what is unfolding before him.  Though he knows that what he is searching for could very possibly bring him harm, he still pursues.  Iokaste in reference to Oedipus senses the danger and conveys a sense of indifference, acknowledging her incapability of control, “Why should anyone in this world be afraid Since fate rules us and nothing can be foreseen?”  The inadequacy of human beings to control their lives becomes apparent to Iokaste and Oedipus both as they realize that the harder they try to either avoid the truth or find it, the outcome is never good.  Much like life, we may never be satisfied with our outcomes yet we must live with them.  And as opposed to running from the truth it seems that we should seek it because it will find us eventually.   Though thematically a little larger than life, the helplessness of the characters in Oedipus make them human.  They are not romanced nor do they have all the answers and even when they believe they are doing right, it appears as though they have done wrong.  The ability to relate to these processes once again gives Tragedy strong support in it viability as the greatest genre.

In Desire Under the Elms, the Fiddler pops off, “Cause unto him a – (He hesitates just long enough.) brother is born!” (989). Everyone in the scene apparently knows what has occurred except for Ephraim.  The association of the baby to baby Jesus is comical in a sense that he does not know who the father is.  Ephraim had been deceptive in the past and now he is being deceived.  When the truth is finally revealed it done so only out of misfortune and we can once again associate the truth with pain.  No one in the story could possibly imagine where they would have ended up in the end.  Abbie did not intend to fall in love with Eben nor did Eben intend to love her.  Ephraim once a young powerful man now a helpless old man was shamed and a child has died.  Tragedy?  Yes.  Is it life?  Yes.

Best summed up by Puck in a Midsummer Night’s Dream:

If we shadows have offended,

Think but this, and all is mended,

That you have but slumb’red here

While these visions did appear,

And this weak and idle theme,

No more yielding but a dream, (341)

What is gathered is that though many things in life are tragic, they are passing.  We must live life and continue on even though the truth bears pain and pain bears truth.  Though easier said than done, Tragedy is the medium that allows us to do just that.  See both sides of a bad situation and realize that good can mean bad and bad can mean good but many times they just balance one another and perpetuate life.  It is Tragedy’s ability to convey these uncomfortable truths while retaining its value of entertainment that places it well above other genres. [MC]