(2016 midterm assignment)

Sample Student Midterm Answers 2016

Essay 2. Learning about Tragedy
LITR 4370 Tragedy 

Model Assignments

 

(Authors & titles in alphabetical order; scroll down to see essays)

Angela Copper, Tragedy: Complex yet Evocative

Tedra Mendoza, All about Tragedy

Adrian Russell, Life is Tragic

Cassandra Parke, Tragedy: The Invocation of Humanity

Angela Copper

16 June 2016

Tragedy: Complex yet Evocative

          Tragedy, in its conversational usage, refers to an unfortunate, sad, and perhaps unanticipated event. The academic definition of tragedy refers to a genre which finds its roots in Greek drama. Even though I had a general understanding of this latter meaning to tragedy – I knew of Medea and Hamlet, Oedipus and Othello – for most of my student career I have still incorporated the informal definition with the formal, meaning that in my mind a tragedy was simply a “sad play.” Upon taking this class, however, I have learned a lot about the meaning of tragedy as a literary genre. I have learned about the importance of plot to a tragedy, as opposed to the importance of individual characterization found in romance. I have learned of the “mixed” characters that are found in tragedy – and how the unfolding of events upon these characters intends to inspire catharsis, a strong release of emotions brought on by pity and fear. Perhaps the most important thing that I have learned is that tragedy is constantly evolving, growing. As an extremely complex genre which exhibits human suffering as its primary design, tragedy will never “fall out of fashion.” It is too near and dear to us. It is not looked down upon as a “lesser” genre, as may occur with comedy and satire, and it does not make man out to be better, as in romance. Tragedy strikes a chord with humanity in a way that other genres fundamentally cannot.

          As described in the Tragedy course website written by Dr. Craig White, while tragedy is interesting and complex and often shocking, it is not perfect. Dr. White writes that “the same qualities that make tragedy great may also limit in complementary ways,” because tragedy, as any other genre, has its confinements. While it certainly will not fall out of fashion, tragedy is not particularly popular to start with. Tragic works do not make us joyful or inspired in the same way that comedies and romances do. Especially in America, tragedies are not as popular due to the tragic plot seeming to revolve around an unavoidable chain of events. Whatever the “tragic hero” does to resolve a situation only sows his fate deeper into the field. In an individualistic culture, it is hard to relate to classic Greek tragedies wherein man is a puppet or an insect, writhing in futility against the will of fate and the Gods.

          On individualism and American ideals: in this class we have discussed that tragic characters may be more “noble,” yet this does not correspond with America’s “bring yourself up by your boot straps” culture. If a tragic hero is born into wealth and power, has the gifts of wit and strength, yet still finds themselves in a downward spiral, many modern audiences may find themselves unsympathetic to the hero’s plight. When Oedipus constantly talks about how “great” and “clever” he is and flies off the handle at any dissent, you almost want to see the guy taken down a peg. This interferes with the goal of inspiring pity and fear which Aristotle describes in Poetics. Additionally, tragedies often focus on larger societal issues or psychological problems, which the average individual may feel distant from. Comparatively, comedies and romances find themselves personalizing problems, with relatable characters who are often “everyday” people.

          Within this class I have learned that the complexity of tragedy comes from its mimesis, or imitation. Tragedy imitates life, in all of its complexities. This is what makes tragic characters less flat. Instead of being fully “good” or “evil,” tragic characters are “mixed.” In our approach to the distinctions of tragic characterizations, we discussed in class the notion that tragic characters are just people doing the best they can with the cards that they are dealt. No tragic character thinks themselves evil – they are all doing what they believe is just or necessary. In this way, tragic characters resemble ourselves. We can empathize with their struggle.

As Scott Agruso said in his 2014 essay “Tragedy is Not Just a Sad Story,” while I still do not know even half of all there is to know about tragedy, our class discussions act as a “sort of Rosetta Stone for understanding and comprehending” tragic plays. I find myself explaining to my friends and family how interesting tragedy is, and how it’s not so depressing as it is engrossing and remarkable.

Tedra Mendoza

All about Tragedy

          When I enrolled in this class, I believed that this class was going to be depressing but I have come to quickly realize that there is so much more within it. I used to believe that a tragedy was just an unfortunate accident although it is not an “accident but causes and consequences” that lead up to the tragedy” (White, Tragedy notes, 2016). Also, as Fariah Khalil states in her paper, “according to Aristotle’s Poetics, Tragedy is an imitation of life and confronts problems; it shows humanity in its most realistic way possible making it the greatest literary genre.” While also being in this class, I have come to find out that majority of tragedy happens within families because of the difficult decisions that have to be made as well as the Oedipal Conflict and Electra Complex.

          The Oedipal Conflict and Electra Complex have a major role in tragedy because usually, a lot of the issues stem from these two concepts.  The Oedipal Conflict is when “a male child yearns for his mother and opposes his father's attentions to the mother” (White, 2016). This is seen in Mourning Becomes Electra when Christine’s son Orin arrives after his father is murdered. The bond Christine and Orin have is much more than just a mother and son relationship. He seems to have an unhealthy fixation with his mother. The Electra Complex is when “a young girl feels rivalry with her mother for the affections of her father” (White, 2016). This can also be seen in Mourning Becomes Electra when Lavinia wants to take the place of her mother whenever her father comes back home.

          Something else that I have come to notice within tragedy is the spectacle that is made throughout the plays. A spectacle is often referred to as “special effects.” In the Oresteia trilogy, Cassandra predicts what will happen between Clytemnestra, Agamemnon, and herself. The audience hears everything that is taking place behind closed doors but does not see anything. When Clytemnestra comes out of the house she is covered in Agamemnon and Cassandra’s blood. The spectacle was repressed in this scene but it was described in detail by Cassandra before she entered the house and fell to Clytemnestra’s revenge.

          The way the Oresteia trilogy modernizes is by being recreated into Mourning Becomes Electra. The two parallel with one another allowing the readers to see these plays are able to be modernized in order for the next generation to put them into perspective. The characters from the Oresteia are given different names in Mourning Becomes Electra but they are playing very similar roles. The same plot happens in both but the names and the way they act are modernized. Also, the character’s “motivations or drives become internal & psychological instead of external forces such as divine curses or prophecies” (White, 2016). An example of this is that the characters in Mourning Becomes Electra do not necessarily receive prophesies like the way Cassandra gives prophesies. They are using their emotions to where we are able to interpret their psychological reasoning for their actions.

          I really enjoy learning about tragedy because in a sense, it is relatable to everyone. What takes place is loss, sacrifice, and growth which allows the reader to have a better understanding of the readings and the genre. Learning this much about tragedy in only two weeks has made me excited to see what else is to come through this course.

Cassandra Parke

Tragedy: The Invocation of Humanity

          Tragedy is unlike any other genre in that in that it presents humanity both at its worst and at its best. Tragedy’s sublimity and poignancy stems from the fact that it is an art of contrast and proximity. According to Nietzsche in The Birth of Tragedy, tragedy is the product of dialogue between the Apolline and the Dionysiac, between aesthetic forms, and the formless will. It is also the product of the mingling of nobility and twistedness, of the beautiful and the grotesque, of enduring virtue and incomprehensible sin. Tragedians are remarkable in that they can cause these opposites to coincide within their characters and their plots, to create a balance that is not necessarily enjoyable, but moving, haunting, and healing. Tragedy is also striking in that it details violence or betrayal amongst those who are close to each other, such as family members (Poetics 13c).

          Beyond the fascination that comes from experiencing a tragic work, tragedy evokes common fears and passions in audience members that seem to originate at humanity’s core and produce a sense of unity that is truly Dionysiac. For example, the revulsion elicited by the recognition that Jocasta is Oedipus’ mother in Oedipus the King is nearly universal, indicating that abhorrence of incest is fundamental to human nature. Through common instinct, we are reminded that all humans are the same at their core, and that perhaps we are derived from a common source. This experience is exceptionally appealing to modern audience members who have been further individuated and isolated by globalization and communicative technology. According to Nietzsche, the chorus is an integral part of tragedy which is chiefly responsible for the Dionysiac experience.

 In addition to benefiting from a sense of unity and renewed appreciation for humanity through catharsis (Poetics 11b), audience members relate to tragic characters who possess tragic flaws (Course website’s “Tragic Flaw” page), or else recognize and empathize with their struggles because the plot enacts mimesis, or the imitation of real life (Course website’s “Mimesis” page). Tragedy has more to offer than any other genre, in that it provides both entertainment and education (Course website’s “Dual purpose of literature” page). Because problems and faults are internalized by tragic characters, rather than transferred to some ‘other’, as in romance, the ways in which these negative aspects are addressed by characters have bearing on reality (Course website’s “Tragedy” and “Romance” pages). Common themes in tragedy include lessons about fate, faith, justice, and hubris. For example, The Eumenides demonstrates the distinction between revenge and justice, and advises individuals to defer to the authority of the court system, rather than perpetuating the cycle of violence.

As Kaitlin Jaschek eloquently stated in her midterm paper: “Tragedy does not allow us to “escape” our problems or feel assured that everything will always turn out for the best; instead it shows us that sometimes evil does prevail or bad things happen, but it helps us determine how we will navigate or respond to those evils”. While the world of romance and comedy may be easier to enjoy, its challenges and outcomes have little bearing on reality.

          Although tragedy may not be considered “likeable”, it is a joy to study and analyze due to the fact that characters’ fates are overdetermined, and so tragic works are riddled with foreshadowing and meaningful diction that provides ample material for interpretation and discussion. According to Aristotle’s Poetics, plot is the very soul of tragedy and characters are secondary (Poetics 6e). In tragedy, characters are instruments of the plot, while in romance, plot is often a consequence of the characters’ actions and motivations. In tragedy, every word, and every action has impact on the narrative.

          Aristotle believed that comedy involves the imitation of characters of “a lower-type” (Poetics V), and that tragedy imitates “noble actions, and the actions of good men” (Poetics IV). Tragedy is somewhat elitist by nature as it frequently features upper-class characters, extolls lessons or morals that reflect the views of those in power (such as Oedipus the King, which confirms the powers of the Gods in keeping with the interests of the priest-class, which was being challenged), and invokes mature emotions such as grief. Conversely, comedy is the genre of the masses because it is easy to follow and riddled with spectacle.

          According to the course website’s “Spectacle” page, spectacle is that which creates “an impressive or interesting show or entertainment for those viewing it”. It is gore, special effects, costumes, shouting, violence, and the sensational. According to Aristotle, of all of the elements of tragedy, spectacle is the least artistic, and so must be repressed or managed (Poetics 6g). In practice, this repression can involve allowing violent or shocking scenes to occur off-stage such as when Agamemnon’s murder is not witnessed, but heard, and described through Cassandra’s prophesy. This challenges audience members to invent their own details, allowing them to participate in the narrative in their own way.

          In conclusion, tragic works require an investment from the audience; one must closely follow the plot in order to understand its intricacies and be open to emotional release and learning.  This dedication requires attention and effort. However, in return, the audience receives a taste of the sublime, a lesson to carry with them, and a renewed appreciation for humanity. In this respect, tragedy is the greatest genre.

Adrian Russell

Life is Tragic

When something seemingly terrible happens in life, a person can feel alone. Sometimes, knowing that someone else has gone through a similar trial can bring us out of the pain, if even for a moment. This is one way in which tragedy serves us. In Poetics, Aristotle describes that tragedy is supposed to “bring about a "catharsis" of the spectators” and “…arouse in them sensations of pity and fear, and to purge them of these emotions so that they leave the theater feeling cleansed and uplifted, with a heightened understanding of the ways of gods and men.” As Kaitlin Jaschek stated in her 2015 mid-term, titled “Tragedy is real, relatable, and enjoyable”, she says, “Tragedy is relatable [to] life because it displays the imperfections of humans, the character is not always good or always bad; they are a mixture, and at times they are in predicaments that lead to hard decisions and/or consequences.” In the beginning of the class, I understood tragedy in life, but not in literature. Literature has the power not only to entertain, but also educate. Thus, in learning the literary formula of tragedy, we are able to decode the mimesis of tragedy in our lives.

In order to use literary tragedy as a rule for our lives, we must size it down to scale. Fathers in power would hopefully not sacrifice their daughters in order to garner wind for military travel, such as Agamemnon did. However, a father in today’s time may neglect his children as a sacrifice to the greater good of the family or his community. For instance, a father may not have been able to attend a daughter’s dance recital because he is a police officer and decided to stay on shift late in order to catch a criminal he has been vetting. This would “kill” the daughter because she wanted her father to see her dance, but he made the choice to catch the criminal for the greater good. This makes him a flawed hero. Subsequently, the wife may be quite upset when the father gets home. Fights would occur, repeat and eventually lead to divorce. Though the daughter was upset at her father, he is her hero and no longer in her everyday life. This puts her against her mother and whatever new male may be in their family (Aegisthus). The children in the family would then rebel and retaliate in order to “kill” the mother in some way. This could be running away to the father, experimenting with hard drugs or initiating in sexual conduct against the mother’s wishes. There we have it. The makings of a modernized Agamemnon with less spectacle. If this family were to use literary tragedy as a moral construct, they might see that the father was just doing his job, he loves his daughter, the mother is rightfully upset but should not take it out on the father, and the Oedipal/Electra complex is sure to be an issue if not paid attention to.

One way that Agamemnon was already modernized was in Eugene O’Neil’s, Mourning Becomes Electra. The popularity it garnered upon release is proof that the allure of tragedy stands the test of time. The convention of tragedy is so relatable because it typically involves a family that loves and hates each other at the same time, much like the Mannons. The audience can easily feel sympathy for every character in Mourning Becomes Electra. Ezra is a silent war hero trying his best to be a strong man. Christine cannot help she fell out of love and her husband was gone for years. Lavinia is rightfully upset with her mother for being unfaithful, and Orin wants to stand by his sister. We may not agree with their actions, but we can understand and relate to their feelings. The relatability of the characters is what makes tragedy so enthralling.

Even if a person does not have a family, they might yearn to know them or love them while also hating them for the fact that they are alone. Not everyone falls in love or finds life funny. However, everyone experiences tragedy. Therefore, tragedy’s audience is everyone. We may see a tragedy without romance or comedy, but in terms of narrative genre, will rarely ever see a romance or comedy that does not have some form of tragedy. Even our most beloved children’s stories are typically born out of tragedy. Tragedy is the great equalizer. Pain and death come for us all from the moment we are born.

Moreover, tragedy equalizes society because we are fight the duality of good and evil within us. As Nietzche explains in The Birth of Tragedy, we all have a fight within us involving our Apolline and Dionysiac nature. When we can understand and harness the convention of tragedy, we may be better equipped to navigate our lives. If this is true, an interesting idea comes to mind involving the formal genre of tragedy. Tragedy is a literary art form. Art imitates life. Therefore, we, as human beings, are the formal genre of tragedy. We are individually the creators of our own tragedy. We are tragedy. The stage directions are in our minds. The spectacle is in our actions and reactions. The pain is in our eyes. Much like the plays of the ancient Dionysiac festivals, we live almost as if our tragic lives are in competition with each other. Let us see who can hurt more. So that we may applaud the victor.