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Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, $ 34.95
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Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
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Tragedy and Comedy, 2005.
A discussion of tragedy and comedy in literature.
1,279 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper tries to find the similarities, despite their obvious differences, between tragedy and comedy. The paper explores Greek and Shakespearean literature to qualify points made. The author of the paper concludes with a personal opinion and an example of the correlation of tragedy and comedy in life.
From the Paper
" This criticism can however be rebutted by the fact that tragedy and comedy can entail elements of each other. Although a tragic Greek play involved more death and injury than the comedy, both genres focused on the meaning and the consequences of actions. To once again take the example of Oedipus, several people die as a result of his inability to escape his fate. He however accepts this and does what he feels is necessary to once again balance the elements. This, in an extreme way, gives meaning to Oedipus' tragedy and provides him with a sort of peace. Comedy approaches life from a different angle but also with the basic search for meaning in life. The obstacles before the glory in the end can be related to the obstacles in tragedy, all of which need to be overcome to reach the appropriate end of the play. The common element therefore is the search for meaning and peace through the turmoil of the obstacles provided by means of either tragic or comic elements in the ancient Greek play."
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Polish Holocaust Literature, 2005.
This paper analyzes Polish-centered Holocaust literature and films and compares them to similar Holocaust literature from other countries.
2,200 words (approx. 8.8 pages), 7 sources, MLA, $ 68.95
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Abstract
This paper explains that, in analyzing Polish-centered Holocaust literature and films, it becomes clear that certain themes are recurrent: Imagination vs. reality, exposure vs. nakedness, the inversion of Biblical meaning and of human order in general, pre-destined catastrophe and the appropriateness of humor. The author states that the Polish-centered themes are more vivid and their representation more graphically intense than the general writing about the Holocaust because of the concentration of death camps and the density of its tragedy; Poland is often perceived as the "ground zero" and the pivotal point by which Holocaust writers come to grips with the slaughter of the Jews and others. The paper analyzes many examples of Polish Holocaust literature: Alfred Andersch' "Efraim's Book", Arnold Wesker's " Sophie's Choice", Pierre Gascar's "Seasons of the Dead", Claude Lanzmann's film/ quasi-documentary "Shoah", Aaron Appelfeld's novella "Badenheim 1939", K. Tsetnik's "Salamandra", Henri Raczymow's "Un Cris sans Voix", Emanuel Ringelbaum's "Notes from the Warsaw Ghetto" and the Academy Award winning movie "Life is Beautiful".
From the Paper
"In Shoah literature, certain questions present themselves again and again: Do these themes - which often reflect a universal character of sort - diminish the particular suffering and injustice of the event? Can any writing truly capture the enormous moral crimes of the Holocaust? Sparking a hotly-discussed debate, Theodor Adorno wrote that poetic treatments of the Shoah were a form of "barbarism." In light of this criticism, it has often been asked by both writers and critics alike, what justification does a writer have for treating the subject matter at all? This charge has seldom been directed at any other subject of fiction, but it might be argued that such outrageous criticism is simply evidence of the subject's moral and tragic dimensions."
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Death in Spanish Literature, 2007.
A discussion of the theme of death present in Spanish literature.
3,496 words (approx. 14.0 pages), 11 sources, MLA, $ 98.95
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Abstract
The paper portrays how tragedy and death permeated the history and literature of Spain. The paper examines the lives and works of Gustavo Adolfo Becquer, Mariano Jose de Larra, Benito Perez Galdos, Leopoldo Alas (Clarin), Miguel de Unamuno and Federico Garcia Lorca. The paper discusses how their lives were filled with death and sorrow and illustrates how this is reflected in Spanish literature until the 20th century.
From the Paper
"Tragedy and death permeated the history and literature of Spain. Despite political upheaval, literature entered the Siglo de Oro (Golden Age) in Spain, spawning many creative and prolific writers in the late 16th century. The Spanish writers wrote of how talents were no match for violence, injustice and ignorance, nor from greater forces beyond Spain's borders. The writers expressed these sentiments, along with feelings of disillusionment with human foibles and the great age that had gone on before (Weller 2)."
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Tragedy, Aristotle and "Death of a Salesman", 2007.
An analysis of how Aristotle defines tragedy and how it is portrayed by Arthur Miller in his play "Death of a Salesman".
4,224 words (approx. 16.9 pages), 9 sources, APA, $ 112.95
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Abstract
Arthur Miller's "Death of a Salesman" has several strong literary and socially disturbing dimensions, but the one that stands most is its tragic dimension. This paper contends that "Death of a Salesman" is in fact tragic, and that within that tragic dimension there are several themes that are apparent and important: financial failure, emotional inadequacy, false pride, sports promise and sports failure, sexual confusion and impropriety, career stumbling, a dysfunctional family, death and madness. Tragedy to varying and diverse degrees is presented as a dynamic that is witnessed in Willy's family, in Willy's failed careers, and of course in his failed relationship with his son and in his marriage. Additionally there are tragic circumstances within the popular American contemporary vernacular of sports. The paper also examines Aristotle's stance on tragedy and how it compares to that of Arthur Miller.
Outline:
Introduction
What Is Tragedy? Miller's Philosophy on Tragedy and His Perspective on the Play
What Is Aristotle's Philosophy Regarding Tragedy?
The Death of a Salesman: The Literature and the Scholarship
Other Tragic Features of the Play
From the Paper
"After going to lengths to point out that Miller sees the central tragic figure in the play as Willy, Hagopian insists that it's Biff Loman, Willy's son, is the one who "ultimately makes things happen, who responds to the great trauma in his life with an emotional and moral paralysis..." That point could be rebutted effectively, but meantime a more pertinent point that Hagopian makes is that, after Biff finds his dad in a hotel room with another woman; "You fake!" he barks. "You phony little fake! You fake!" And now dad has been fired from his job, and Willy fears his son will expose his immoral deeds to mom. But Biff does not, he just wants to rage at his dad, and say "goodbye to you Pop...let's just wrap it up, heh?" The scene that Willy provokes has definite tragic consequences, Hagopian admits on page 40. "
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Tragedy and Comedy, 2004.
This paper discusses that the genres of drama, tragedy and comedy, are not always exclusive; many plays and films fit into both categories simultaneously.
2,510 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
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Abstract
This paper identifies one characteristic of comedy and two characteristics of tragedy and demonstrates their application to scenes from four plays considered some of the greatest tragedies ever penned, Shakespeare?s ?Oedipus Rex?, ?Macbeth?, ?Romeo and Juliet?, and ?Hamlet?; and from two films, the comedy, ?Pretty Woman?, and tragedy, ?The Path to War?. The author explains that one characteristic of comedy is the exaggerated or wry manner in which human folly or foolishness is underscored, and two characteristics of tragedy are the struggles or suffering of the protagonist over moral issues and the raising of questions about the meaning of human existence. The paper states that the ?Path to War? and ?Oedipus Rex? are pure tragedy based on circumstances and errors in judgment; whereas, ?Pretty Woman? is a film that is a comedy because its light heartedness and innocence completely overshadow its tragic characteristics.
From the Paper
"Perhaps the most appropriate starting point for demonstrating that a comedy and tragedy are not necessarily mutually exclusive, though they have long been considered the main divisions of drama is "Romeo and Juliet". Indeed, although "Romeo and Juliet" is hailed as one of the greatest love tragedies ever written, it, almost deceptively, appears to be a comedy for the most part. In fact, had Shakespeare not used the prologue to announce that the play was about star-crossed lovers; the audience may well have been completely deceived in expecting or hoping for a happy ending, particularly since the opening scene itself is a witty one that mocks human foolishness through a dialogue between Sampson and Gregory from the house of Capulets."
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English Renaissance Tragedy ? "The Duchess of Malfi" by John Webster., 2001.
An in-depth analysis of this English Renaissance tragedy, the various factors involved which lead to the tragic ending and the struggle between good and evil.
2,800 words (approx. 11.2 pages), 2 sources, $ 83.95
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Abstract
In this paper the author examines the theme of tragedy that runs through this play. In so doing he looks at the primary relationships in the play - the relationship between the Cardinal, the Duchess and Ferdinand and the relationship between the Duchess and Antonio which he suggests is central to the play. He also suggests that the character of Bosola is an additional factor in the events that lead to the tragic end. The author examines each of these factors in turn, looking at the characters involved, their characteristics and the meaning of each factor and concludes by showing, not only how all these events led to the tragic ending, but also what meaning this has for the reader.
From the paper:
?The central tragedy of the play is that of the Duchess. She is represented as a fine woman in terrible circumstances. Her tragic flaw is her need to follow her heart. She defies the reality of the situation and makes the decision to marry Antonio and ultimately suffers for this choice. The tragedy of the situation is that she does nothing wrong. Her relationship with Antonio is pure. Even with the tragedy that results, she accepts this as a consequence of loving Antonio and accepts her fate.?
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Shakespeare, Aristotle, and the Idea of Tragedy, 2004.
Examines the dynamic forms of catharsis and tragic flaws in William Shakespeare?s plays and how they relate to Aristotle's definition of tragedy.
2,409 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
William Shakespeare?s most beloved plays are his tragedies. If one were to list his best and most popular plays, "Othello", "Romeo and Juliet", "Hamlet", "King Lear" ,and so forth, one would find the list comprised almost entirely of tragedies. The paper states, therefore, that it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the paper shows that the definitions of the tragic form ,as understood at the roots of theatrical history in Greco-Roman times, continue to be part and parcel of the official comprehension of tragedy. The paper shows that many critics have sought to force Shakespeare into the mold of tragedy as defined in Aristotle?s "Poetica", and many others have rightfully protested that he was not cast from that mold, and that, in fact, he owes little to it.
From the Paper
"On the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is ?The iambic? the proof is that in talking to each other we most often use iambic lines.? (Aristotle) The majority of Shakespeare?s tragedies, of course, use iambic lines. Likewise, Aristotle claims that ?Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.? Shakespeare is well known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle?s dramatic suggestions and the original staged forms of Shakespeare?s work."
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Aristotle's Definition of the Tragedy, 2006.
This paper analyzes Sophocles' "Oedipus the King" according to Aristotle's definition of the tragedy.
965 words (approx. 3.9 pages), 0 sources, $ 34.95
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This paper explains that, in Aristotle's definition of the tragedy, the most important element is that the medium in which the events occur is a drama rather than a narrative. The author points out that Sophocles' "Oedipus the King' is a tragedy that is demonstrated through the unity of events. The paper rates that thought, which relates to the ideas behind the tragic events in the drama, and diction, which refers to the expression of meaning through words, are other important tragic elements that Aristotle defines as important in a tragedy. The author discusses Sophocles' use of the chorus, which coincides with Aristotle's fifth important element of tragedy---song or melody.
From the Paper
"The second important element of the tragedy is a strong main character, who supports the plot of the drama. In this, the main character's motivations and fears interlink with the plot elements in the movement towards the climax of the tragedy. The main character, according to Aristotle, should not only be a person of great importance and prosperity in society, but he should also have admirable personality traits. The combination of material and spiritual prosperity will then make the outcome all the more tragic. This is certainly so in the case of Oedipus."
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Greek Tragedy and "Oedipus Rex", 2002.
Examines the history of Greek tragedy and describes "Oedipus Rex" as the greatest of all Greek tragedies.
2,015 words (approx. 8.1 pages), 4 sources, $ 63.95
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Abstract
This paper examines the historical evolution and maturation of tragedy in ancient Greece, and the characteristics of a tragic hero. The author focuses on one of the most famous Greek tragedies, Oedipus Rex, and greatly details the story of Oedipus and his tragic flaws. The paper also discusses all elements in an ancient Greek production, such as the prologue, chorus, and exodus.
From the Paper
"Oedipus Rex is a story of one man?s pursuit for truth. Although Oedipus falls victim to obstacles he is unable to overcome, he encounters these obstacles along his journey to find the truth. In the view of Sophocles, the tragic hero must accept the responsibility for his actions, as does Oedipus in the final scene, regardless of his original motives and inability to control or understand the forces in which rule his life. The plot, Oedipus? search for truth, and the chorus are all contributing factors that make Oedipus Rex the greatest in the history of all Greek tragedies."
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Tragedy, 2002.
This paper explores the history of the tragic art form.
1,190 words (approx. 4.8 pages), 8 sources, $ 40.95
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Abstract
The paper begins by looking at different forms of tragedy and at the purpose of tragedy, as espoused by Plato. The basic element of tragedy (the fall of a noble person due to their own inherent flaws) is discussed. The writer brings in examples of tragic art forms, such as Shakespeare?s ?Othello? and Arthur Miller?s ?Death of a Salesman? and ?The Crucible?, to highlight variations of tragedy. It looks at Miller?s seminal essay,?On Tragedy? and at the components of the modern tragic drama. It presents a comparison between the themes of the Elizabethan ?Hamlet? and the modern/absurdist ?Rosencrantz and Guildenstern Are Dead?, two plays following the same tragedy from radically different angles. The paper concludes with a study of the key to writing a good tragedy.
From the Paper
"The history of the tragic art form has through-out history undergone many apparent metamorphoses, even while keeping certain elements consistent through their many changes in form and theory. This artform is thought by many to have been brought into existence by the Greeks, and it is certainly best known classically according to Aristotle?s definition in the 4th century Poetics. Yet the writing of tragic stories, and the role they play in history predates even Aristotle. The Jewish scriptures and Egyptian mythologies both relate stories of overwhelming loss and tragedy and hold these events up as tales which should be repeated often. According to Plato, tragedy on the stage is nothing more or less than play-actors pretending to be sad or villainous for no reason, and thus detrimental to the minds of the impressionable who might be purposefully made sad or villainous. Yet Aristotle claimed, most astutely, that tragedy serves instead a noble purpose (and surely the writers of Jewish scriptures and Egyptian tales would agree) He writes that tragedy serves as a catharsis, a purging and cleansing of the soul. While most other conventions and concepts of tragedy, have undergone and should undergo radical reinvention, this central theme of spiritual or emotional cleansing remains consistent and it may be suggested is the primary reason why tragedy has and should continue to exist."
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"Oedipus Rex" as a Tragedy, 2004.
A discussion of the way that the play, "Oedipus Rex", is a tragedy.
816 words (approx. 3.3 pages), 2 sources, MLA, $ 29.95
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Abstract
In his classic work, "Poetics", Aristotle describes the elements of a tragedy. One of the most important elements is the tragic hero. The major characteristic of the tragic hero is a fatal flaw that results in their demise. Other common elements of a tragedy include the use of irony, the inclusion of an anagnorisis, and the catharsis that the audience experiences. These elements of the tragedy are all observed in "Oedipus Rex". Each of these elements are described in this paper.
From the Paper
"The first element present is the tragic hero, with King Oedipus taking on this role. King Oedipus's decline is based partly on his fate, where he is fated to kill his father and then marry his own mother. Importantly, it is not just this fate that results in his decline. If this were true, then it would not be his fatal flaw leading to the downfall. The fatal flaw, which Aristotle referred to as Hamartia, is Oedipus's ego and pride. His excessive pride and his strong ego results in Oedipus ignoring the fate, which represents the will of the Gods, and believing that he can overcome his fate. This results in King Oedipus leaving what he thinks is his own homeland and travelling to his real homeland where he kills his father and then marries his mother. This illustrates how his fatal flaw results in Oedipus causing his fate to become a reality."
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Tragedy According to Aristotle, 2004.
Explains the elements of a tragedy, according to Aristotle in "Poetics".
788 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper discusses the various parts that make up a tragedy, according to Aristotle. The paper explains how each of these elements contributes to the purpose of tragedy as explained by Aristotle. Finally, Sophocles's "Oedipus the King" is used to help illustrate Aristotle's views on tragedy.
From the Paper
"According to Aristotle, all characters within the tragedy must support the plot. The personal motivations of the main character are thus interwoven with the causes and effects within the play. This of course occurs within ?Oedipus?. Oedipus, being adamant to avoid tragedy, walks right into tragedy?s arms. The pity, fear and catharsis all occur with the character of Oedipus at the center, while the rest of the characters support him as well as the events of the plot. The catharsis is all the more intense because Oedipus shows himself as a principled and even heroic character; someone to be admired, at least initially."
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Literary Tragedy, 2002.
An analysis of literary tragedy as a function of psychology.
1,500 words (approx. 6.0 pages), 6 sources, MLA, $ 49.95
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Abstract
This paper shows that the definition of tragedy depends on the meaning perceived by an audience, rather than on a structured stimulus independent of response. The paper focuses on certain psychological principles of tragedy capable of demonstrating the essential kinship between works of tragic literature from ancient Greece to modern times. Various different literary works are discussed, illustrating the varying definitions or criteria for tragedy.
From the Paper
"The compulsion to label any disaster a tragedy as well as perfectly complete textbook definitions of tragedy ignores the intricacies confronted by serious critics and philosophers trying to understand and explain the full meaning of the word tragedy and the varieties of experience that it attempts to describe. While the quantity of writing on tragedy indicates the subject?s complexity and the ongoing interest in finding a modern working definition of tragedy, it has also resulted in it appearing more complex then the dramatic tragic work of literature itself. Such persisting inquiries from ancient times to the present have either built theories of tragedy on discrete philosophical premises, selected different plays as exemplary, or reflected particular cultural values."
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Tragedy in "Hamlet" and "Mama Day", 2003.
A discussion of the elements of classic tragedy in Gloria Naylor?s "Mama Day" and William Shakespeare?s "Hamlet".
1,119 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper examines how both Gloria Naylor?s "Mama Day" and William Shakespeare?s "Hamlet" exemplify the qualities of classic tragedy. It looks at how "Mama Day" is a mimicry of Shakespeare?s use of elements to completely delineate tragedy that is, however, marked with contradiction. It analyzes how the characters and plot in each work follow the general rules of tragedy in divergent ways and how George and Hamlet are proved to be the tragic heroes. It shows how their dissimilar paths through life guide them both to parallel endings and how deliberation versus action and knowledge versus acceptance are the two questions that lead each tragic hero to his death.
From the Paper
"The suffering in a tragedy is characterized as exceptional and unexpected. Before the murder of King Hamlet, Denmark was in all its glory, occupying part of Norway and Hamlet was a content student at the University of Wittenberg. The state of everything changes when Claudius?s scheme of domination is put into play as he kills Hamlet?s father and marries his mother, Gertrude. This creates a strong contrast to the prior glory the characters had. The characters of Mama Day similarly displayed a prosperity crushed by conflict. George and Ophelia, though two strong-willed adults, finally found harmony with one another. Their two opposite upbringings and philosophies balanced, and they had a successful married life. George?s long-anticipated trip to Willow Springs began their final plight."
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