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Hadiqat Ul Haqiqat

Tragedy refers to a dramatic work that recounts a series of causally related unfortunate events in the life of a significant person, typically culminating in their downfall or death. Aristotle established the definition of tragedy as arousing pity and fear in the audience to produce catharsis. According to Aristotle, an ideal tragedy involves a protagonist of high status falling from happiness to misery due to a tragic flaw or hamartia. While traditionally rulers or other high-status individuals, over time the definition has expanded to include protagonists of varying backgrounds facing their fate with courage.

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169 views

Hadiqat Ul Haqiqat

Tragedy refers to a dramatic work that recounts a series of causally related unfortunate events in the life of a significant person, typically culminating in their downfall or death. Aristotle established the definition of tragedy as arousing pity and fear in the audience to produce catharsis. According to Aristotle, an ideal tragedy involves a protagonist of high status falling from happiness to misery due to a tragic flaw or hamartia. While traditionally rulers or other high-status individuals, over time the definition has expanded to include protagonists of varying backgrounds facing their fate with courage.

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sabeeqa
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Definition of Tragedy

Harmon, William and Hugh Holman. A Handbook to Literature, 10th Edition. New Jersey: Pearson
Prentice Hall, 2006. Print.

Tragedy - a term with many meanings and applications. In drama it refers to a particular kind of
play, the definition of which was established by Aristotle’s Poetics. In narrative, particularly in the
Middle Ages, it refers to a body of work recounting the fall of persons of high degree. It concerns
in general the effort to exemplify what has called “the tragic sense of life”’ that is, the sense that
human beings are inevitably doomed, through the nature of fate, destiny, or the human condition to
suffer, fail, and die, and that the measure of a person’s life is to be taken by how he or she faces
that inevitable failure. The tragic impulse celebrates courage and dignity in the face of defeat and
attempts to portray the grandeur of the human spirit.
In drama, a tragedy recounts a causally related series of events in the life of a person of
significance, culminating in an unhappy catastrophe, the whole treated with dignity and
seriousness. According to Aristotle, who gave in the Poetics a normative definition of tragedy,
illustrated by the Greek plays, with Sophocles’s Oedipus Rex as the best example, the purpose of a
tragedy is to arouse pity and fear and thus to produce in the audience a catharsis of these emotions.
Given this purpose, Aristotle says that fear and pity may be aroused by spectacle or by the
structure of the play. The latter method is, he insists, the better; hence plot is “the soul of a
tragedy.” Such a plot involves a protagonist who is better than ordinary people, and this person
must be brought from happiness to misery. The question of what constitutes significance for the
hero is answered in each age by its concept of significance. In a period of monarchy,
Shakespeare’s protagonists were rulers; in other ages they have been and will be other kinds of
persons. In an egalitarian nation, a tragic hero can be the archetypal common citizen—a worker, a
police officer, a gangster, a New England farmer, a slave. But to qualify as a tragic protagonist, the
hero or heroine must be a person of high characters and must face his or her destiny with courage
and nobility of spirit. Classical tragedy and romantic tragedy both emphasize the significance of
a choice made by the protagonist but dictated by the protagonist’s hamartia. To insist, however,
that tragedy be confined to this particular view of the universe is to limit it in unacceptable ways…
…with the emergence of Ibsen in the late nineteenth century came the concept of middle-
class tragedy growing out of social problems and issues. In the twentieth century, middle-class and
laboring-class characters are often portrayed as the victims of social, hereditary, and environmental
forces. When they receive their fate with a self-pitying whimper, they can hardly be said to have
tragic dimensions. But when as happens in much modern serious drama, they face their destiny,
however evil and unmerited, with courage and dignity, they are probably as truly tragic as Hamlet
was to Shakespeare’s Londoners.

Elizabeth Davis – Westwood High School 126

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