It doesn’t tend to focus on just “great men” and their political actions. In Shakespeare’s tragedies, which are some of English literature’s most famous, the “tragic action” nearly always focuses on one central character, like Hamlet, King Lear, or Othello, but Shakespeare’s tragedies also focus on how broader political consequences follow as a result of a “great man’s” death (the fall of Denmark in Hamlet, for instance, or the Ottoman/European political conflict at the heart of Othello). In the medieval period, “tragedy” was concerned with “noble or illustrious men,” too, but these tales usually took on a Christian moral valence. In ancient Greece, tragedy was a ritual performance of the downfall of a great man – usually a king or a nobleman – brought low because of some sort of fault. In Ancient Greece, tragic theater was a ritual performance where the negative emotions of a society could be purged, and the end result had political goals: a better-functioning Athenian democracy.īut Aristotle died over 2000 years ago, and the definition, purpose, and focus of tragedy has changed a bit in that time. The point of Greek tragedy is to use this morally ambiguous character’s death to create an emotional effect in an audience, a purifying sort of emotional release that Aristotle calls catharsis. For Aristotle, the tragic hero can’t be totally evil or purely good, but instead, must be a “character between these two extremes… whose misfortune is brought about not by vice or depravity, but by some error or frailty, also known as “ hamartia,” that is, by a fatal flaw. In his Poetics, the ancient Greek philosopher Aristotle defined tragedy as a morally ambiguous genre in which a noble hero goes from good fortune to bad. Conference for Antiracist Teaching, Language and Assessment.Winter 2023 Graduate Course Descriptions.Master of Arts in Interdisciplinary Studies (MAIS).
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