Critical Theory:Tragedy

Critical Theory:Tragedy

The Tragic Purpose The Tragic Purpose

To grapple with the arbitrary and unjust elements in life

To confront man’s finite nature and the inevitability of death

To grapple with the arbitrary and unjust elements in life

To confront man’s finite nature and the inevitability of death

The Tragic Purpose The Tragic Purpose

Attempts to bring order out of chaos

Attempts to reconcile man’s moral constructs with an amoral universe

Attempts to bring order out of chaos

Attempts to reconcile man’s moral constructs with an amoral universe

The Hero of Tragedy The Hero of Tragedy

Catastrophe results from an act that expresses the hero’s free choice

The act sets in motion a chain of dreadful consequences that cannot be reversed

Catastrophe results from an act that expresses the hero’s free choice

The act sets in motion a chain of dreadful consequences that cannot be reversed

The Hero of Tragedy The Hero of Tragedy

At first the audience may envision two paths for the hero

However the hero’s actions progressively limit his choices

At first the audience may envision two paths for the hero

However the hero’s actions progressively limit his choices

The Hero of Tragedy The Hero of Tragedy

The hero ultimately capitulates to forces which are lower than he is, but less worthy

The audience pities him for this

The hero ultimately capitulates to forces which are lower than he is, but less worthy

The audience pities him for this

The Hero of Tragedy The Hero of Tragedy

The tragic individual asserts his individuality = the Apollonian impulse (Nietzsche)

Ultimately his actions result in reaffirmation of the communal order = the Dionysian impulse (Nietzsche)

The tragic individual asserts his individuality = the Apollonian impulse (Nietzsche)

Ultimately his actions result in reaffirmation of the communal order = the Dionysian impulse (Nietzsche)

The Hero of Tragedy The Hero of Tragedy

Comedy = both hero and community profit from the hero’s triumph

Tragedy = the ritual sacrifice of the hero reaffirms communal ties; only the community profits

Comedy = both hero and community profit from the hero’s triumph

Tragedy = the ritual sacrifice of the hero reaffirms communal ties; only the community profits

The Tragic Audience The Tragic Audience

Attraction = we admire the hero Repulsion = we abhor what causes

him to fall

Attraction = we admire the hero Repulsion = we abhor what causes

him to fall

Northrop Frye Northrop Frye

Critical work: Anatomy of Criticism Archetypal exploration of the

tragic genre The mythos of the fall season =

tragedy

Critical work: Anatomy of Criticism Archetypal exploration of the

tragic genre The mythos of the fall season =

tragedy

Revenge Revenge

Tragedy focuses on the individual The revenge plot is at the heart of

most tragedy Destruction results from an

attempt to counterbalance the forces at work

Tragedy focuses on the individual The revenge plot is at the heart of

most tragedy Destruction results from an

attempt to counterbalance the forces at work

The Tragic Hero The Tragic Hero

Between heaven and earth Between freedom and bondage An instrument as well as a victim

Between heaven and earth Between freedom and bondage An instrument as well as a victim

Phase 1: InnocencePhase 1: Innocence

Dignified or noble hero seems a helpless victim of fate (often female)

Universal powers regard these qualities as insult

Tess of the d’Urbervilles The character of Ophelia

Dignified or noble hero seems a helpless victim of fate (often female)

Universal powers regard these qualities as insult

Tess of the d’Urbervilles The character of Ophelia

Phase 2: Innocence vs. Experience

Phase 2: Innocence vs. Experience

Archeypal loss of innocence Loss of the garden or the green

world The hero virtually encourages his

own destruction Romeo and Juliet

Archeypal loss of innocence Loss of the garden or the green

world The hero virtually encourages his

own destruction Romeo and Juliet

Phase 3: The Ideal Phase 3: The Ideal

Triumph is achieved through self-sacrifice

Corresponds to the Quest archetype

Paradox of victory in tragedy Beowulf (and the fire dragon)

Triumph is achieved through self-sacrifice

Corresponds to the Quest archetype

Paradox of victory in tragedy Beowulf (and the fire dragon)

Phases 1-3: RomancePhases 1-3: Romance

Emphasis on man’s superior powers

The hero’s suffering and downfall appear to come from without

Emphasis on man’s superior powers

The hero’s suffering and downfall appear to come from without

Phase 4: Individual FaultsPhase 4: Individual Faults

Typical hubris and hamartia Although mainly responsible for his

own downfall, retains greatness -- even in death

Hamlet

Typical hubris and hamartia Although mainly responsible for his

own downfall, retains greatness -- even in death

Hamlet

Phase 5: Natural LawPhase 5: Natural Law

Fatalism: man is bound and doomed from birth

However, he is free to question his suffering with dignity

Oedipus

Fatalism: man is bound and doomed from birth

However, he is free to question his suffering with dignity

Oedipus

Phase 6: Shock and HorrorPhase 6: Shock and Horror

The demonic: cannibalism, mutilation, torture

Dostoyevski = the “underground man”

Only man’s imagination distinguishes him from other underground creatures

Macbeth

The demonic: cannibalism, mutilation, torture

Dostoyevski = the “underground man”

Only man’s imagination distinguishes him from other underground creatures

Macbeth

Phases 4-6: IronyPhases 4-6: Irony

Flaws and limitations of the hero’s personality increase

Deep agony and humiliation Defeat comes principally from

within

Flaws and limitations of the hero’s personality increase

Deep agony and humiliation Defeat comes principally from

within