1. Critical Theory: Tragedy

2. 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

3. 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

4. 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

5. 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

6. 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

7. 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)

8. 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

9. 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

10. 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

11. 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

12. 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

13. Phase 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

14. 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

15. 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)

16. Phases 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

17. Phase 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

18. Phase 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

19. Phase 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

20. Phases 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