Essay on Tragedy and Thomas Hardy Literature

In William Shakespeare’s play “Romeo and Juliet”, Shakespeare presents characters in difficult situations in Romeo and Juliet through various language techniques and structure. Romeo and Juliet were star-crossed lovers. Both Romeo and Juliet were from feuding families that would not approve of their marriage. In the play they are presented with many difficult circumstances. The play was set in the Elizabethan era; there was a significant change in religion, family and politics. Attitudes and key scenes highlight the theme of love in difficult circumstances and prepare the audience for Romeo and Juliet’s suicides at the end of the play. In this essay I will be exploring the ways Shakespeare presents characters in difficult situations.

William Shakespeare’s Hamlet is laden with tragedy from the start, and this adversity is reflected in the title character. Being informed of his father’s murder and the appalling circumstances surrounding the crime, Hamlet is given the emotionally taxing task of avenging his death. It is clear that having to complete this grim undertaking takes its toll on Hamlet emotionally. Beginning as a seemingly contemplative and sensitive character, we observe Hamlet grow increasingly depressed and deranged as the play wears on. Hamlet is so determined to make his father proud that he allows the job on hand to completely consume him. We realize that Hamlet has a tendency to mull and ponder excessively, which causes the notorious delays of action

Tragedy, as defined by Aristotle, is “a drama treating a serious subject and involving persons of significance” (Kirszner and Mandell 1086), the success of a tragedy occurs when the audience “feels both fear and pity because they see in themselves the potential for similar situations” (Kirszner and Mandell 1087). Aristotle’s literary theory of tragedy applies only to “imitation of persons who are above the common level, he must be one who is highly renowned and prosperous – a personage like Oedipus, Thyestes, or other illustrious men of such families” (Aristotle) because his theory was developed for application to the literary works of poets and playwrights such as Homer, Aeschylus, and Sophocles, whose works were the interpretations of Greek mythology. This means that one cannot look fully to Aristotle’s definition of a tragic hero in application to modern literature. Therefore, many scholars and literary critics look to playwright Arthur Miller’s description written in his article Tragedy and the Common Man where he writes, “I believe that common man is as apt a subject for tragedy in its highest sense as kings were” (Miller). Miller points out in his article that the common man can exhibit all the same qualities and characteristics as those of a man born into nobility, and that same common man can execute the same actions. But not all tragedies are heroic, there must be specific elements in the creation of a tragic hero that can be difficult to

“From forth the fatal loins of these two foes/ A pair of star-cross'd lovers take their life/ Whose misadventured piteous overthrows/ Do with their death bury their parents' strife.” The prologue to Romeo and Juliet, the quintessential tragedy we all read, spells out the plot within the first page of the play. We should see this coming, yet somehow that makes the deaths more painful every time. A prayer for Owen Meany captures that same effect, using the classic tools of tragedy to emotionally engage readers. Aristotle explains these tools, along with their effects, to better his audience's understanding of the complex workings of tragic writing. John Irving utilizes Aristotle's philosophies of plot and character to enhance the tragedy of Owen

In this age few tragedies are written. It has often been held that the lack is due to a paucity of heroes among us, or else that modern man has had the blood drawn out of his organs of belief by the skepticism of science, and the heroic attack on life cannot feed on an attitude of reserve and circumspection. For one reason or another, we are often held to be below tragedy-or tragedy above us. The inevitable conclusion is, of course, that the tragic mode is archaic, fit only for the very highly placed, the kings or the kingly, and where this admission is not made in so many words it is most often implied.

From the beginning of Titus Andronicus we are thrust into Shakespeare's idiosyncratic form of reality, a place where things are slightly out of place, maybe a little out of touch. When any writer creates such a reality, some room to be more dramatic or creative is formed, this allows things out of the ordinary suddenly become ordinary. This simulacrum of reality is essential to Shakespeare's work; however, in Titus Andronicus it functions in a slightly altered way, allowing a dark humor to be found in some of the play's most tragic moments—so much so, that to call the play simply a tragedy becomes unjust. Structurally, the work is tragic, one that pushes moral boundaries and leaves us uncomfortable, but on another level the work delves into

Before beginning, however, it is necessary to examine the aim of Tragedy. A Tragic work, according to Aristotle, was simply one that showed men as better than they typically are in everyday reality. Tragedy served to show mankind at his noblest, without, however, depicting man as unreal or unbelievable. To represent a noble man

In the poem Neutral Tones, Thomas Hardy describes the end of a relationship. Neutral Tones was written in 1867, and was included as part of the collection Wessex Poems and Other Verses. The poem is presented as a dramatic monologue that reflects Hardy’s pessimistic and depressed views, which are shown throughout many of his poems.

Tragedies that befall a true hero in a play sometimes are caused by that person’s pride. Oedipus and Othello show readers the true character of being a tragic hero and show how pride can lead to devastating consequences. Pride’s effect on individuals can be subtle from the start, and more often than not will manifest itself fully when that person realizes, from their actions, the consequences of being prideful. Sophocles and Shakespeare both write about prideful men in their plays Oedipus Rex and The Tragedy of Othello. The prideful actions each man takes, which they believe to be noble, causes their lives and the lives of the people around them to be ruined by tragedy.

How does Hardy use poetic techniques to detail changes in his relationship with his wife over time in ‘Neutral Tones’ ?

In this essay I will be exploring the ways writer presents emotions generated by family and romantic relationships in “Romeo and Juliet” and “The Great expectations”. The children (Romeo and Juliet, and Pip and Estella) try to create their paths. But their families and the society hold them back. In the next few paragraphs, I will be looking at the problems that inherit in the process of creating their own paths.

Tragedies in storylines are used as a form of entertainment. Of course tragedies can be very emotional, however, it creates a strong bond between the protagonists and audience. Agamemnon, Hamlet and “The Love Song of J. Alfred Prufrock”, between three literary works, a common tragedy of innocence is observed.

When you think of William Shakespeare, Hamlet is the first thing most people think of, as his work. Hamlet is also a classic example of a tragedy. In all tragedies the hero suffers, and usually dies at the end. All good pieces of literature written way back when, are usually tragedies.

In Arthur Miller’s essay Tragedy and the Common Man, he opposes Aristotle’s theory by saying that – actually – it is the common man who is best fit for tragedy. Miller’s statement on how the components in a tragedy that would shake us derive “from the underlying fear of being misplaced” and “the disaster inherent in being torn away from our chosen image” proves this. Noble and royal individuals know their place in this world;

However, for the Elizabethans, more specifically for Marlowe and Shakespeare, tragedy is not a restrictive view of human excellence or weakness as the Greeks are often inclined to present but an affirmative view of human aspirations whose pursuit brings a glory to the definition of a man. Struggle, conflict, suffering and failure may be the inescapable attendants but the human spirit is not stifled in its pursuits by what attends to them. The ability to withstand