1. Greek Tragedy and Classical Greek Drama Terms

2. Fate Each person has a fate assigned to him or her (by the gods) Each person has a fate assigned to him or her (by the gods) A person who seeks to overstep his or her fate would be guilty of hubris, or pride. A person who seeks to overstep his or her fate would be guilty of hubris, or pride. “People hear ‘Oedipus’ and think ‘YUCK. Incest!’ when really they should be thinking ‘Ah, yes. The tension between individual action and fate.’ Not that we can blame people (except Freud)—incest is pretty insane. While free choices, such as Oedipus’s decision to pursue knowledge of his identity, are significant, fate is responsible for Oedipus’s incest and many of the other most critical and devastating events of the play. Sophocles is suggesting that characters cannot be fully responsible for their actions... which is a pretty major statement.”

3. Tragedy: “an imitation of an action that is serious, complete, and of a certain magnitude” Triggers 2 emotions: pity and terror Triggers 2 emotions: pity and terror Often starts “en media res” or “in the middle” of the action Often starts “en media res” or “in the middle” of the action "Tragedy, then, is a process of imitating an action which has serious implications, is complete, and possesses magnitude; by means of language which has been made sensuously attractive, with each of its varieties found separately in the parts; enacted by the persons themselves and not presented through narrative; through a course of pity and fear completing the purification of such emotions.” Aristotle, The Poetics Aristotle, The Poetics

4. Five Parts The first act introduces the characters in a state of happiness, or at the height of their power, influence, or fame. The second act typically introduces a problem or dilemma, which reaches a point of crisis in the third act, but which can still be successfully averted. In the fourth act, the main characters fail to avert or avoid the impending crisis or catastrophe, and this disaster occurs. The fifth act traditionally reveals the grim consequences of that failure.

5. Characteristics of a Tragic Hero 1. Usually of noble birth 2. Hamartia – a.k.a. the tragic flaw that eventually leads to his downfall; often this causes a mistake in judgment. 3. Peripeteia – a reversal of fortune brought about by the hero’s tragic flaw; this is often also influenced by “fate” or the gods. 4. His actions result in an increase of self- awareness and self- knowledge…though he may not choose to act on this! 5. The audience must feel pity and fear for this character. ***What’s the difference between an epic hero and a tragic hero?

6. The “tragic flaw” The “flaw” in the character is a defect which keeps him/her from being aware of the situation around him/her. The character does not understand (for much of the story) his/her part of creating the situation. The “flaw” in the character is a defect which keeps him/her from being aware of the situation around him/her. The character does not understand (for much of the story) his/her part of creating the situation. Ex: Odysseus Ex: Odysseus Tragic Flaw: Hubris (excessive pride) Tragic Flaw: Hubris (excessive pride) Hamartia: Gloating to the Cyclops which places a curse on him and his men. Hamartia: Gloating to the Cyclops which places a curse on him and his men.

7. More on hamartia Originally applied to an archer who misses the target, a hamartia came to signify a tragic flaw, especially a misperception, a lack of some important insight, or some blindness that ironically results from one's own strengths and abilities. In Greek tragedy, the protagonist frequently possesses some sort of hamartia that causes catastrophic results after he fails to recognize some fact or truth that could have saved him if he recognized it earlier. The idea of hamartia is often ironic; it frequently implies the very trait that makes the individual noteworthy is what ultimately causes the protagonist's decline into disaster.

8. More on hubris It is the opposite of the Greek term arête, which implies a humble and constant striving for perfection and self-improvement combined with a realistic awareness that such perfection cannot be reached. As long as an individual strives to do and be the best, that individual has arête. As soon as the individual believes he has actually achieved arête, however, he or she has lost that exalted state and fallen into hubris, unable to recognize personal limitations or the humble need to improve constantly.

9. Peripeteia The sudden reversal of fortune in a story, play, or any narrative in which there is an observable change in direction. In tragedy, this is often a change from stability and happiness toward the destruction or downfall of the protagonist. The sudden reversal of fortune in a story, play, or any narrative in which there is an observable change in direction. In tragedy, this is often a change from stability and happiness toward the destruction or downfall of the protagonist.

10. Anagnorisis Aristotle: "A man cannot become a hero until he can see the root of his own downfall.“ Aristotle: "A man cannot become a hero until he can see the root of his own downfall.“ The tragic hero has a “moment of enlightenment” near the end of the story. The tragic hero has a “moment of enlightenment” near the end of the story. He/she finally understands what he/she has done wrong—how he/she contributed to the tragic situation. He/she finally understands what he/she has done wrong—how he/she contributed to the tragic situation. The story often ends with the death of the tragic hero. The story often ends with the death of the tragic hero. His death usually is not a pure loss - it results in greater knowledge and awareness. His death usually is not a pure loss - it results in greater knowledge and awareness.

11. The Hero’s Understanding Example: Odysseus Example: Odysseus He does not realize until he enters the Underworld and learns his fate that he cannot fight it; even if he wants to. He does not realize until he enters the Underworld and learns his fate that he cannot fight it; even if he wants to. This is evident when he enters Scylla and Charybdis and while initially ignoring the warning not to fight, he eventually does not and loses six men. He knows he must so he does. This is evident when he enters Scylla and Charybdis and while initially ignoring the warning not to fight, he eventually does not and loses six men. He knows he must so he does. From this point on, Odysseus does not fight against the will of the gods, but gives in to it. From this point on, Odysseus does not fight against the will of the gods, but gives in to it.

12. Catastrohpe Catastrophe comes from a Greek word meaning "overturn." a large, often sudden, disaster

13. Catharsis Catharsis is the purging of emotions created by a good tragedy. Catharsis is the purging of emotions created by a good tragedy. We feel pity and fear as we watch the tragic suffering of the characters in the play. We feel pity and fear as we watch the tragic suffering of the characters in the play. Those emotions are safely exercised and exorcised. The safety lies in the fact that the spectacle of the drama is not real; the actors are not really hurt. Those emotions are safely exercised and exorcised. The safety lies in the fact that the spectacle of the drama is not real; the actors are not really hurt. Brings about a moral or spiritual renewal or welcome relief from tension and anxiety. Brings about a moral or spiritual renewal or welcome relief from tension and anxiety. Ultimate end of any tragic Ultimate end of any tragic