Drama is one of the most vital forms of art and may be considered as the heart of literature. It developed simultaneously in Ancient Greece, China, Japan, and other countries, and since then a significant number of theatres, tragedies, comedies, and dramas were created (“A brief history of tragedy,” n.d.). The purpose of this paper is to provide a definition of tragedy, a form of drama, and discuss the differences between ancient Greek, Elizabethan, and an American one. Also, the ways in which the Tragic Hero has changed over time, from Greek to American, will be discussed.
The tragedy is one of three forms of drama that bases on people’s suffering that have to invoke an accompanying pleasure or catharsis in the audience. By watching the characters facing troubles and experiencing physical and emotional pain, people have to feel the same and become cleansed of their own sins (“A brief history of tragedy,” n.d.). There are certain differences between ancient Greek, Elizabethan or Shakespearean, and American tragedies that appeared as a result of its development and some changes according to the specifics of a country and people’s needs.
The Ancient Greek tragedy’s tragic hero is a person of high rank. He has a tragic flaw, a weakness in his or her character, which results in the downfall of the tragic hero, and he or she accepts with dignity (“A brief history of tragedy,” n.d.). The central belief of the tragedy was fate, and most of the actions of the characters were influenced by the Gods or destiny and commented by the singing chorus (“A brief history of tragedy,” n.d.). The end of the tragedy should have a catastrophe or disaster, and the tragic hero either died or suffered the crush of his or her personality.
The Elizabethan tragedy’s hero was cursed by fate and also had a flaw that led to a downfall. There should be a struggle between good and evil in the main plot or within the main character. There were two conflicts: an external (a problem usually created by a negative character and faced by the tragic hero) and an internal (a struggle between the hero and his or her flaw). Tragic waste at the resolution of the play was about the destruction of the good along with the bad. There were witches, witchcraft, ghosts, and other supernatural elements and at least one humorous character who had to lighten the mood. Just as the Ancient Greek, Shakespearean tragedy intended catharsis.
The American tragedy tends to speak not to the community as a whole but the individual. Its purpose is not catharsis; instead, it achieves people’s enjoyment. Ancient Greek and the Shakespearean tragic hero had to be virtuous, powerful, and attractive, and take the responsibility of honor and morality and gain sympathy from the audience’s side. He had to have a tragic flaw Suffer a reversal of fortune. As for the American tragic hero, his or her characteristics have changed over time. Tragic hero does not have to be of a noble origin and may be of all genders and class backgrounds. He or she can also be a non-heroic individual without any typical heroic qualities and in some way, isolated from society.
There is a short story titled “The Outsider” written by Howard Phillips Lovecraft in 1921 and published in 1926 in Weird Tales. Its main character may be considered as a tragic hero since there are some common characteristics between them. The character is of noble birth (Lovecraft, 2014). He is determined and brave, and these traits are demonstrated in his search for answers and light. His flaw appears at the end of the story – the outsider is dead; he is a ghoul (Lovecraft, 2014). Also, he is ignorant and unaware of himself, and it leads the tragic hero to become crushed.
References
- A Brief History of Tragedy. (n.d.). Web.
- Lovecraft, H. (2014). The Outsider. CreateSpace.