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LITR 4370
TRAGEDY
Final Exam Samples 2015 (final exam assignment)
Model Answers to Part 2. |
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Part 2. Complete
"Learning about
Tragedy" Essay: Revise, improve, & extend essay
begun in Midterms 1
& 2 on learning experience
with tragedy, extending to include Hippolytos,
Phaedra, and
Desire Under the Elms. (Revise / improve midterm2 draft & add at least 5 paragraphs
for 12+ paragraph total.)
Stephanie Ali
Tragedy and Family Go Hand in Hand throughout the Ages
When
one thinks about how we lived without cell phones, it’s mind boggling. Better
yet, the advancements in medical sciences has benefited society in tremendous
ways. Modernization is a part of life. As most things in life modernize, so is
the case in literature, namely Tragedy. From the birth of tragedy to its
development today, it is on a journey all its own, and it evolves as needed by
what society demands.
A first look at the birth of tragedy is the concept offered by Nietzche.
Within the nature of tragedy underlies a deeper layer of meaning and a
surprising union. Nietzsche
offers to bring a definition of the Dionysiac and Apolline by
stating that “art derives its continuous development from the duality of the
Apolline and Dionysiac;” (Nietzsche, 14). With these two terms in union, comes
the birth of tragedy. The two existing together forms beautiful art/literature.
Initially, I was confused as to why both forms are needed in works of art, but
it’s explained further when Michael Thro states that we need and use both “to
reflect upon the balance or imbalance of work and play, duty and freedom in
[our] lives” (Dr. White’s website). We
work five days a week to earn the enjoyment of the weekend. Comparing Dionysiac
and Apolline is to say the mind is Apolline and the heart, Dionysiac.
Both are needed and create a unity that
work best intermingled. Another beautiful example I found concerning the duality
of Apolline and Dionysiac is a link previewed in the class lecture on
Beethoven’s “Ode to Joy”. The concert was viewed by a large audience who joined
in singing with the world choir. At that moment, the concert becomes an
extension of the audience and the both became one. Although Dionysiac can be
misinterpreted as wild, letting loose, or sexual, it coincides more with the
unexplainable awe, the connection with each other and emotions that add
character and life to a performance, movie, or literature.
Someone who has not taken a course on Tragedy would probably not agree tragedy
can exist with other genres such as comedy and romance. Or, that there can be
love, comedy and tragedy all in one. However, it is quite possible and there are
many examples in the literature studied this term. When delving into tragedy and
its functions, multiple genres are identified within the narrative plot.
Oddly
enough tragedy is a popular and enjoyable genre at a time when society is in
good standing such as “during great periods of history”, including “USA during
the "greatest generation" of the mid-20th century” and the great Greek and Roman
empires. (Dr. White’s website). The use of a comedic genre is popular among
society when an escape is needed from reality. It’s human nature to desire a
feeling of superiority over others and comedy gives that effect.
Aristotle's states that comedy is "an imitation of
characters of a lower type"(Poetics
5).
In
Lysistrata, the tragedy/comedy duo is a great example of wit and humor. Women
denying their husbands’ sex until the war is resolved results to men with
erections and in distress. The men are in a terrible “state”, meaning both
politically and sexually. Adding in the nude handmaid, Peace, adds to the
obvious tension of the men’s situation. Peace is also very witty considering she
is naked, used as the map to end the war, and consequently her name is Peace,
which could stand for peace politically and/or Peace once the men can relief
themselves. As predicted, the men give in and resolve the war. Thereafter, the
women return to their husbands and there is great celebration and relief.
One of the quotes that speaks volumes to me is: “Man is the only animal
that laughs and weeps; for he is the only animal that is struck with the
difference between what things are, and what they ought to be” (William Hazlitt,
"On Wit and Humour" (1819)). Humans thrive on both laughter and crying and
therefore, the union in literature and art is perfect.
As I
learned in lecture, tragedy is not only blood and gore, but rather lessons that
teaches society what happens, “if”. In Rebecca’s Bridgmohan’s essay “Tragedy:
It’s More Than You Think”, she states that “tragedy teaches us (the audience)
what happens within society, even though what we may uncover could be considered
taboo.” An excellent example is
when Clytemnestra
kills her husband, Agamemnon,
in revenge of him sacrificing their daughter. Another example is
the play “Mourning Becomes Electra” when Christine poisons her war hero husband
in order to be with her love, who is also the nephew of her husband. In addition
is the daughter who has unhealthy affections for her father. What makes tragedy
appealing is that “Tragedy
imitates
real life more than other genres” (Dr. White’s website). I think that is the
appeal to humans; it’s the relativism in Tragedy that imitates real life
situations. This is the lesson. It not only entertains, but also informs.
Since
I am from a big family, tragedy is no stranger to me. The more family members,
the more scenarios! Even having this background, I never put it together until
Dr. White said “Tragedy is about families”! Then, it clicked for me. We all live
some type of tragedy and that is the attraction that humans share to tragedy. We
all make mistakes, and that is what makes us human. To be honest, it made me
feel more normal and I attempted to contemplate about individuals, especially
family members, who have hurt me in my life. My discovery is that we all make
mistakes and there is a mix of sweet and sour in us. Families are bound together
and we are capable to love and hate each other at the same time.
The stage of tragedy is truly a mimesis of the stage of life! The main
character is not all bad or all good, but a mix of the two that forces the
observer to have a struggle with whose side to take, or how one might feel about
the tragic actions of the character (or family member)! A good example of the
mixed good and bad is Agamemnon who sacrifices his daughter, which is tragic,
but essentially he is a ‘good guy’ who loves his country and his family. However
tragic his actions, it leaves a person unsettled in agreeing or disagreeing. We
ask ourselves, can we agree and disagree at the same time? That is one of the
effects of tragedy.
As
tragedy develops, I take a personal liking to some of the characters, namely the
female characters as they start to take on lead roles or important roles. In
Antigone, there is a complexity of
narratives because Antigone and her sister have opposing views about the king’s
order to leave the dead body of
Polynices
without a proper burial. Who is right and who is wrong? Antigone is passionate
and although she wants to do what pleases the gods, she is willing to break the
law to do it. This makes her a rebel. It’s sort of like a feminist movement. In
Phaedra, Oenone, the nurse, is
cunning and helps devise a plan to protect Phaedra from being shamed of her
incestuous feelings. She is also considered a low character and kills herself in
the end. That’s usually observed for the tragic hero. Although she is a low
character, the self-sacrifice raised her status. Oenone is brave to advice
Phaedra to “go for it” and let Hippolytus know how she feels. In fact, instead
of blaming a god, Phaedra feels that Oenone pushed her to the limits. Finally,
there is Abbie from Eugene O’Neil’s
Desire Under the Elms. I believe Abby thickens the plot with her robust
character. Even though men are writing these plays, the women are in focus.
Abbie’s strong disposition keeps the audience awake. One can’t help but wonder,
what will happen next since the incestuous relationship is consummated. The
boldness of the women is an added spark to the plot.
Finally, there is a shift in tragedy I like to call the “Euripides
Effect”. Earlier tragic characters are larger than life, but kings and queens
diverge to a prince or princess in later plays. Earlier, with
Antigone, who is a princess, and then
Hamlet, son of the former king. Now,
tragedy is no longer for the elite or royalty. Euripides brings in the bourgeois
class and the audience becomes the judge. The gods start to have less power and
are not blamed for everything. Although Phaedra curses the god for her
incestuous love, by the time we get to
Desire Under the Elms, it is the self that is responsible for desires. In
fact, the monotheistic God is present in both
Mourning Becomes Electra and
Desire Under the Elms. I think the
biggest impact that Euripides is associated with is the death of Tragedy. But,
since tragedy is the greatest genre, I like to think of it as a rebirth of
tragedy. Bringing New Attic Comedy on stage, “we need only say that Euripides
brought the spectator on to the stage” (Nietzsche, 55). We are all familiar with
sitcoms which include the everyday domestic situations. Some samplings of
current sitcoms would be Two and a Half Men, 30
Rock, and How I Met Your Mother. Nietzsche compares this change “to
the change in tragedy from the heroic and mythical Aeschylus and Sophocles to
the realistic and rational Euripides” (Dr. White’s website). Euripides “taught
the people to speak for themselves” and I find that refreshing (Nietzsche, 55).
It’s awesome to be engulfed in the tragic “oldies” while your heart is fighting
the ethical outcome of the plot. However, I like the idea of the underdog rising
above the privileged to strut his/her intellect and capabilities. Euripides
speaks for the people!
Romance must be included when discussing modernization in tragedy. In the
readings of Hippolytus,
there is textual evidence that support romantic or transcendent attitudes. The
chorus chants: “To fly away,
away, away, away, away on wings of wishing, where the golden apples swell in
ripeness, and the fertile meadows bloom abundantly…” (3.4). Another example of
romantic text is when Aphrodite assures Hippolytus “Phaedra’s
love for you will not be lost in the endless depths of time’s oblivious ocean”
(11.32). One sentence packed full of depth and emotion is truly romantic.
Romantic texts include more than love relationships. The act of transcending or
getting to a better place is a common romantic theme. For example, Abbie and
Eben in Desire Under the Elms both go
off together to do time for the murder of their son. Even though it is not
riding off into the sunset, they are leaving the here and now for something
else.
When reflecting on tragedy, Eric Anderson offers a great insight as he states: “We
initially shy away from tragedy because it refuses to sugarcoat the brutal
truth, but come to learn that it presents humanity for what it really is, both
triumphant and piteous” (Model Assignments). Quoting the nurse from Hippolytus:
“Show me life, and I’ll show you things that hurt” (3.4).
Tragedy is not just death as most think. Tragedy is learning a way through
things that one would not face otherwise.
Through this journey, tragic literature takes a journey on its own, and
it evolves as needed by what society demands.
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