Tragedy (Template:Lang-grc, tragōidia, etymology uncertain. previous idea: "he-goat-song", but this theory has been refuted by Walter Burkert ) is a form of art based on human suffering that offers its audience pleasure. While most cultures have developed forms that provoke this paradoxical response, tragedy refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Williams puts it. From its obscure origins in the theatres of Athens 2500 years ago, from which there survives only a fraction of the work of Aeschylus, Sophocles and Euripides, through its singular articulations in the works of Shakespeare, Lope de Vega, Racine, or Schiller, to the more recent naturalistic tragedy of Strindberg, Beckett's modernist meditations on death, loss and suffering, or Müller's postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan and Deleuze—have analysed, speculated upon and criticised the tragic form. In the wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general, where the tragic divides against epic and lyric, or at the scale of the drama, where tragedy is opposed to comedy. In the modern era, tragedy has also been defined against drama, melodrama, the tragicomic and epic theatre.
- 1 Origin of tragedy
- 2 Roman tragedy
- 3 Renaissance tragedy
- 4 Neo-classical tragedy
- 5 Bourgeois tragedy
- 6 Modern development of tragedy
- 7 Theories of Tragedy
- 8 Similar dramatic forms in world theatre
- 9 See also
- 10 Notes
- 11 Sources
- 12 External links
Origin of tragedy
Template:Merge The word "tragedy" appears to have been used to describe different phenomena at different times. It derives from (Classical Greek Template:Polytonic), contracted from trag(o)-aoidiā = "goat song", which comes from tragos = "goat" and aeidein = "to sing". Scholars suspect this may be traced to a time when a goat was either the prize in a competition of choral dancing or was that around which a chorus danced prior to the animal's ritual sacrifice.
Writing in 335 BCE (long after the Golden Age of 5th-century Athenian tragedy), Aristotle provides the earliest-surviving explanation for the origin of the dramatic art-form in his Poetics, in which he argues that tragedy developed from the improvisations of the leader of choral dithyrambs (hymns sung and danced in praise of Dionysos, the god of wine and fertility):
At any rate it originated in improvisation—both tragedy itself and comedy. The one tragedy came from the prelude to the dithyramb and the other comedy from the prelude to the phallic songs which still survive as institutions in many cities. Tragedy then gradually evolved as men developed each element that came to light and after going through many changes, it stopped when it had found its own natural form (IV, 1449a).
There is some dissent to the dithyrambic origins of tragedy mostly based in the differences between the shapes of their choruses and styles of dancing. A common descent from pre-Hellenic fertility and burial rites has been suggested. Nietzsche discussed the origins of Greek tragedy in his early book, The Birth of Tragedy (1872).
Performance of Greek tragedies
Greek literature boasts three great writers of tragedy whose works are extant: Aeschylus, Sophocles, and Euripides. The largest festival for Greek tragedy was the Dionysia held for five days in March, for which competition prominent tragedians usually submitted three tragedies and one satyr play each.
Greek tragedies were performed in late March/early April at an annual state religious festival in honor of Dionysus. The presentation took the form of a contest between three playwrights, who presented their works on three successive days. Each playwright offered a tetralogy consisting of three tragedies and a concluding comic piece called a satyr play. The four plays sometimes featured linked stories. Only one complete trilogy of tragedies has survived, the Oresteia of Aeschylus. The Greek theatre was in the open air, on the side of a hill, and performances of a trilogy and satyr play probably lasted most of the day. Performances were apparently open to all citizens, including women, but evidence is scant. The theatre of Dionysus at Athens probably held around 12,000 people.
All of the choral parts were sung (to flute accompaniment) and some of the actors' answers to the chorus were sung as well. The play as a whole was composed in various verse meters. All actors were male and wore masks. A Greek chorus danced as well as sang, though no one knows exactly what sorts of steps the chorus performed as it sang. Choral songs in tragedy are often divided into three sections: strophe ("turning, circling"), antistrophe ("counter-turning, counter-circling") and epode ("after-song").
Many ancient Greek tragedians employed the ekkyklêma as a theatrical device, which was a cart hidden behind the scenery which could be rolled out to display the aftermath of some event which had happened out of sight of the audience. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects in order for it to have meaning and emotional resonance. A prime example of the use of the ekkyklêma is after the murder of Agamemnon in the first play of Aeschylus' Oresteia, when the king's butchered body is wheeled out in a grand display for all to see. Variations on the ekkyklêma are used in tragedies and other forms to this day, as writers still find it a useful and often powerful device for showing the consequences of extreme human actions. Another such device was a crane, the mechane, which served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase "deus ex machina" ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event.
Template:Campaignbox Roman theatre Following the expansion of the Roman Republic (509-27 BCE) into several Greek territories between 270-240 BCE, Rome encountered Greek tragedy. From the later years of the republic and by means of the Roman Empire (27 BCE-476 CE), theatre spread west across Europe, around the Mediterranean and reached England. While Greek tragedy continued to be performed throughout the Roman period, the year 240 BCE marks the beginning of regular Roman drama. Livius Andronicus began to write Roman tragedies, thus creating some of the first important works of Roman literature. Five years later, Gnaeus Naevius also began to write tragedies (though he was more appreciated for his comedies). No complete early Roman tragedy survives, though it was highly regarded in its day; historians know of three other early tragic playwrights—Quintus Ennius, Marcus Pacuvius and Lucius Accius.
From the time of the empire, the tragedies of two playwrights survive—one is an unknown author, while the other is the Stoic philosopher Seneca. Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus. Historians do not know who wrote the only extant example of the fabula praetexta (tragedies based on Roman subjects), Octavia, but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy.
Seneca's tragedies rework those of all three of the Athenian tragic playwrights whose work has survived. Probably meant to be recited at elite gatherings, they differ from the Greek versions in their long declamatory, narrative accounts of action, their obtrusive moralizing, and their bombastic rhetoric. They dwell on detailed accounts of horrible deeds and contain long reflective soliloquies. Though the gods rarely appear in these plays, ghosts and witches abound. Senecan tragedies explore ideas of revenge, the occult, the supernatural, suicide, blood and gore. The Renaissance scholar Julius Caesar Scaliger (1484–1558), who knew both Latin and Greek, preferred Seneca to Euripides.
Influence of Greek and Roman tragedy
The classical Greek and Roman tragedy was largely forgotten in Western Europe from the Middle Ages to the beginning of 16th century, and theatre in this period was dominated by mystery plays, morality plays, farces and miracle plays. As early as 1503 however, original language versions of Sophocles, Seneca, Euripides, Aristophanes, Terence and Plautus were all available in Europe and the next forty years would see humanists and poets translating and adapting their tragedies. In the 1540s, the European university setting (and especially, from 1553 on, the Jesuit colleges) became host to a Neo-Latin theatre (in Latin) written by scholars. The influence of Seneca was particularly strong in its humanist tragedy. His plays—with their ghosts, lyrical passages and rhetorical oratory—brought a concentration on rhetoric and language over dramatic action to many humanist tragedies.
In France, after an initial period of emulation of highly rhetorical humanist tragedy in the late 16th century, the early years of the 17th century saw the creation of a baroque theatre of action and tragedy (murders, rapes), before slowly adapting to the precepts of "classicism" (the "three unities", decorum). French writers of tragedy from the late 16th century and early 17th century include: Robert Garnier, Antoine de Montchrestien, Alexandre Hardy, Théophile de Viau, François le Métel de Boisrobert, Jean Mairet, Tristan L'Hermite, Jean Rotrou.
The most important sources for French tragic theatre in the Renaissance were the example of Seneca and the precepts of Horace and Aristotle (and contemporary commentaries by Julius Caesar Scaliger and Lodovico Castelvetro), although plots were taken from classical authors such as Plutarch, Suetonius, etc., from the Bible, from contemporary events and from short story collections (Italian, French and Spanish). The Greek tragic authors (Sophocles and Euripides) would become increasingly important as models by the middle of the 17th century. Important models were also supplied by the Spanish Golden Age playwrights Pedro Calderón de la Barca, Tirso de Molina and Lope de Vega, many of whose works were translated and adapted for the French stage.
- Antony and Cleopatra
- Julius Caesar
- King Lear
- Romeo and Juliet
- Timon of Athens
- Titus Andronicus
A contemporary of Shakespeare, Christopher Marlowe, also wrote examples of tragedy in English, notably:
John Webster (1580?-1635?), also wrote famous plays of the genre:
Opera as tragedy
Contemporary with Shakespeare, an entirely different approach to facilitating the rebirth of tragedy was taken in Italy. Jacopo Peri, in the preface to his Euridice refers to "the ancient Greeks and Romans (who in the opinion of many sang their staged tragedies throughout in representing them on stage)." In creating the new artistic genre of opera, he and his contemporaries were striving to recreate ancient tragedy. Some later operatic composers have also shared this aim. Richard Wagner's concept of Gesamtkunstwerk ("integrated work of art"), for example, was intended as a return to the ideal of Greek tragedy in which all the arts were blended in service of the drama. Nietzsche, in his The Birth of Tragedy (1872) was to support Wagner in his claims to be a successor of the ancient dramatists.
For much of the 17th century, Pierre Corneille, who made his mark on the world of tragedy with plays like Medée (1635) and Le Cid (1636), was the most successful writer of French tragedies. Corneille's tragedies were strangely un-tragic (his first version of Le Cid was even listed as a tragicomedy), for they had happy endings. In his theoretical works on theatre, Corneille redefined both comedy and tragedy around the following suppositions:
- The stage—in both comedy and tragedy—should feature noble characters (this would eliminate many low-characters, typical of the farce, from Corneille's comedies). Noble characters should not be depicted as vile (reprehensible actions are generally due to non-noble characters in Corneille's plays).
- Tragedy deals with affairs of the state (wars, dynastic marriages); comedy deals with love. For a work to be tragic, it need not have a tragic ending.
- Although Aristotle says that catharsis (purgation of emotion) should be the goal of tragedy, this is only an ideal. In conformity with the moral codes of the period, plays should not show evil being rewarded or nobility being degraded.
Corneille continued to write plays through 1674 (mainly tragedies, but also something he called "heroic comedies") and many continued to be successes, although the "irregularities" of his theatrical methods were increasingly criticized (notably by François Hédelin, abbé d'Aubignac) and the success of Jean Racine from the late 1660s signaled the end of his preeminence.
Jean Racine's tragedies—inspired by Greek myths, Euripides, Sophocles and Seneca—condensed their plot into a tight set of passionate and duty-bound conflicts between a small group of noble characters, and concentrated on these characters' double-binds and the geometry of their unfulfilled desires and hatreds. Racine's poetic skill was in the representation of pathos and amorous passion (like Phèdre's love for her stepson) and his impact was such that emotional crisis would be the dominant mode of tragedy to the end of the century. Racine's two late plays ("Esther" and "Athalie") opened new doors to biblical subject matter and to the use of theatre in the education of young women. Racine also faced criticism for his irregularities: when his play, Bérénice, was criticised for not containing any deaths, Racine disputed the conventional view of tragedy.
Bourgeois tragedy (German: Bürgerliches Trauerspiel) is a form that developed in 18th-century Europe. It was a fruit of the Enlightenment and the emergence of the bourgeois class and its ideals. It is characterized by the fact that its protagonists are ordinary citizens. The first true bourgeois tragedy was an English play, George Lillo's The London Merchant; or, the History of George Barnwell, which was first performed in 1731. Usually, Gotthold Ephraim Lessing's play Miss Sara Sampson, which was first produced in 1755, is said to be the earliest Bürgerliches Trauerspiel in Germany.
Modern development of tragedy
In modernist literature, the definition of tragedy has become less precise. The most fundamental change has been the rejection of Aristotle's dictum that true tragedy can only depict those with power and high status. Arthur Miller's essay "Tragedy and the Common Man" (1949) argues that tragedy may also depict ordinary people in domestic surroundings. British playwright Howard Barker has argued strenuously for the rebirth of tragedy in the contemporary theatre, most notably in his volume Arguments for a Theatre. "You emerge from tragedy equipped against lies. After the musical, you're anybody's fool," he insists.
Theories of Tragedy
The philosopher Aristotle said in his work Poetics that tragedy is characterized by seriousness and dignity and involving a great person who experiences a reversal of fortune (Peripeteia). Aristotle's definition can include a change of fortune from bad to good as in the Eumenides, but he says that the change from good to bad as in Oedipus Rex is preferable because this effects pity and fear within the spectators. Tragedy results in a catharsis (emotional cleansing) or healing for the audience through their experience of these emotions in response to the suffering of the characters in the drama.
According to Aristotle, "the structure of the best tragedy should be not simple but complex and one that represents incidents arousing fear and pity--for that is peculiar to this form of art." This reversal of fortune must be caused by the tragic hero's hamartia, which is often mistranslated as a character flaw, but is more correctly translated as a mistake (since the original Greek etymology traces back to hamartanein, a sporting term that refers to an archer or spear-thrower missing his target). According to Aristotle, "The change to bad fortune which he undergoes is not due to any moral defect or flaw, but a mistake of some kind." The reversal is the inevitable but unforeseen result of some action taken by the hero. It is also a misconception that this reversal can be brought about by a higher power (e.g. the law, the gods, fate, or society), but if a character’s downfall is brought about by an external cause, Aristotle describes this as a misadventure and not a tragedy.
In addition, the tragic hero may achieve some revelation or recognition (anagnorisis--"knowing again" or "knowing back" or "knowing throughout") about human fate, destiny, and the will of the gods. Aristotle terms this sort of recognition "a change from ignorance to awareness of a bond of love or hate."
In Poetics, Aristotle gave the following definition in ancient Greek of the word "tragedy" (τραγωδία):
Ἐστὶν οὖν τραγωδία μίμησις πράξεως σπουδαίας καὶ τελείας, μέγεθος ἐχούσης, ἡδυσμένῳ λόγῳ, χωρὶς ἑκάστῳ τῶν εἰδὼν ἐν τοῖς μορίοις, δρώντων καὶ οὐ δι'ἀπαγγελίας, δι' ἐλέου καὶ φόβου περαίνουσα τὴν τῶν τοιούτων παθημάτων κάθαρσιν.
which means Tragedy is an imitation of an action that is admirable, complete (composed of an introduction, a middle part and an ending), and possesses magnitude; in language made pleasurable, each of its species separated in different parts; performed by actors, not through narration; effecting through pity and fear the purification of such emotions.
Common usage of tragedy refers to any story with a sad ending, whereas to be an Aristotelian tragedy the story must fit the set of requirements as laid out by Poetics. By this definition social drama cannot be tragic because the hero in it is a victim of circumstance and incidents which depend upon the society in which he lives and not upon the inner compulsions — psychological or religious — which determine his progress towards self-knowledge and death. Exactly what constitutes a "tragedy", however, is a frequently debated matter.
Renaissance dramatic theory
Along with their work as translators and adaptors of plays, the humanists also investigated classical theories of dramatic structure, plot, and characterization. Horace was translated in the 1540s, but had been available throughout the Middle Ages. A complete version of Aristotle's Poetics appeared later (first in 1570 in an Italian version), but his ideas had circulated (in an extremely truncated form) as early as the 13th century in Hermann the German's Latin translation of Averroes' Arabic gloss, and other translations of the Poetics had appeared in the first half of the 16th century; also of importance were the commentaries on Aristotle's poetics by Julius Caesar Scaliger which appeared in the 1560s. The 4th century grammarians Diomedes and Aelius Donatus were also a source of classical theory. The 16th century Italians played a central role in the publishing and interpretation of classical dramatic theory, and their works had a major effect on continental theatre. Lodovico Castelvetro's Aristotle-based Art of Poetry (1570) was one of the first enunciations of the "three unities". Italian theatre (like the tragedy of Gian Giorgio Trissino) and debates on decorum (like those provoked by Sperone Speroni's play Canace and Giovanni Battista Giraldi's play Orbecche) would also influence the continental tradition.
Humanist writers recommended that tragedy should be in five acts and have three main characters of noble rank; the play should begin in the middle of the action (in medias res), use noble language and not show scenes of horror on the stage. Some writers attempted to link the medieval tradition of morality plays and farces to classical theatre, but others rejected this claim and elevated classical tragedy and comedy to a higher dignity. Of greater difficulty for the theorists was the incorporation of Aristotle's notion of "catharsis" or the purgation of emotions with Renaissance theatre, which remained profoundly attached to both pleasing the audience and to the rhetorical aim of showing moral examples (exemplum).
The precepts of the "three unities" and theatrical decorum would eventually come to dominate French and Italian tragedy in the 17th century, while English Renaissance tragedy would follow a path far less behoving to classical theory and more open to dramatic action and the portrayal of tragic events on stage.
G.W.F. Hegel, the German philosopher most famous for his dialectical approach to epistemology and history, also applied such a methodology to his theory of tragedy. In his essay "Hegel's Theory of Tragedy," A.C. Bradley first introduced the English-speaking world to Hegel's theory, which Bradley called the "tragic collision", and contrasted against the Aristotelian notions of the "tragic hero" and his or her "hamartia" in subsequent analyses of the Aeschylus' Oresteia trilogy and of Sophocles' Antigone. (Bradley, 114-156). Hegel himself, however, in his seminal "The Phenomenology of Spirit" argues for a more complicated theory of tragedy, with two complementary branches which, though driven by a single dialectical principle, differentiate Greek tragedy from that which follows Shakespeare. His later lectures formulate such a theory of tragedy as a conflict of ethical forces, represented by characters, in ancient Greek tragedy, but in Shakespearean tragedy the conflict is rendered as one of subject and object, of individual personality which must manifest self-destructive passions because only such passions are strong enough to defend the individual from a hostile and capricious external world:
"The heroes of ancient classical tragedy encounter situations in which, if they firmly decide in favor of the one ethical pathos that alone suits their finished character, they must necessarily come into conflict with the equally [gleichberechtigt] justified ethical power that confronts them. Modern characters, on the other hand, stand in a wealth of more accidental circumstances, within which one could act this way or that, so that the conflict which is, though occasioned by external preconditions, still essentially grounded in the character. The new individuals, in their passions, obey their own nature...simply because they are what they are. Greek heroes also act in accordance with individuality, but in ancient tragedy such individuality is necessarily... a self-contained ethical pathos...In modern tragedy, however, the character in its peculiarity decides in accordance with subjective desires...such that congruity of character with outward ethical aim no longer constitutes an essential basis of tragic beauty..." (Hegel, ed. Glockner, vol XIV pp567–8).
Hegel's comments on a particular play may better elucidate his theory: "Viewed externally, Hamlet's death may be seen to have been brought about accidentally ...but in Hamlet's soul, we understand that death has lurked from the beginning: the sandbank of finitude cannot suffice his sorrow and tenderness, such grief and nausea at all conditions of life...we feel he is a man whom inner disgust has almost consumed well before death comes upon him from outside."(Hegel, ed. Glockner,XIV,p572)
Nietzsche, another German philosopher, dedicated his first full-length book, The Birth of Tragedy (1872), to a discussion of the origins of Greek tragedy. He traced the evolution of tragedy from early rituals, through the joining of Apollonian and Dionysian forces, until its early "death" in the hands of Socrates. In opposition to Schopenhauer, Nietzsche viewed tragedy as the art form of sensual acceptance of the terrors of reality and rejoicing in these terrors in love of fate (amor fati), and therefore as the antithesis to the Socratic Method, or the belief in the power of reason to unveil any and all of the mysteries of existence. Ironically, Socrates was fond of quoting from tragedies.
Nietzsche in "What I Owe to the Ancients" in his Twilight of the Idols wrote: "The psychology of the orgiastic as an overflowing feeling of life and strength, where even pain still has the effect of a stimulus, gave me the key to the concept of tragic feeling, which had been misunderstood both by Aristotle and even more by modern pessimists. Tragedy is so far from being a proof of the pessimism (in Schopenhauer's sense) of the Greeks that it may, on the contrary, be considered a decisive rebuttal and counterexample. Saying Yes to life even in its strangest and most painful episodes, the will to life rejoicing in its own inexhaustible vitality even as it witnesses the destruction of its greatest heroes — that is what I called Dionysian, that is what I guessed to be the bridge to the psychology of the tragic poet. Not in order to be liberated from terror and pity, not in order to purge oneself of a dangerous affect by its vehement discharge — which is how Aristotle understood tragedy — but in order to celebrate oneself the eternal joy of becoming, beyond all terror and pity — that tragic joy included even joy in destruction."
Similar dramatic forms in world theatre
Ancient Indian drama
The writer Bharata Muni, in his work on dramatic theory A Treatise on Theatre (Sanskrit: Nātyaśāstra, नाट्य शास्त्र, c. 200 BCE - 200 CE), identified several rasas (such as pity, anger, disgust and terror) in the emotional responses of audiences for the Sanskrit drama of ancient India. The text also suggests the notion of musical modes or jatis which are the origin of the notion of the modern melodic structures known as ragas. Their role in invoking emotions are emphasized; thus compositions emphasizing the notes gandhara or rishabha are said to provoke "sadness" or "pathos" (karuna rasa) whereas rishabha evokes heroism (vira rasa). Jatis are elaborated in greater detail in the text Dattilam, composed around the same time as the Treatise.
The celebrated ancient Indian epic, Mahabharata, can also be related to tragedy in some ways. According to Hermann Oldenberg, the original epic once carried an immense "tragic force". It was common in Sanskrit drama to adapt episodes from the Mahabharata into dramatic form.
While early Sanskrit drama often had unhappy endings, as was the case with Bhāsa's plays, later Indian drama tended to stick to happy endings. By the early Middle Ages, considered the classical period of Sanskrit drama, there were very few Indian plays with unhappy endings being produced. By then, it became a general rule in Sanskrit drama to avoid unhappy endings.
The Uru-Bhanga and Karna-bhara, written by Bhāsa, are two of the few surviving ancient Sanskrit plays with sad endings. Though branded the villain of the Mahabharata, Duryodhana is the actual hero in Uru-Bhanga shown repenting his past as he lies with his thighs crushed awaiting death. His relations with his family are shown with great pathos. The epic contains no reference to such repentance. The Karna-bhara ends with the premonitions of the sad end of Karna, another epic character from Mahabharata. Classical Sanskrit plays, inspired by Natya Shastra, strictly considered sad endings inappropriate.
The plays are generally short compared to later playwrights and most of them draw the theme from the Indian epics, Mahabharata and Ramayana. Though he is firmly on the side of the heroes of the epic, Bhāsa treats their opponents with great sympathy. He takes a lot of liberties with the story to achieve this. In the Pratima-nataka, Kaikeyi who is responsible for the tragic events in the Ramayana is shown as enduring the calumny of all so that a far noble end is achieved.
- Domestic tragedy
- Shakespearean tragedy
- Tragic hero
- Middle English tragedie < Middle French tragedie < Latin tragoedia < Template:Lang-grc, tragōidia; see "Tragedy", p. 1637 in E. Klein, A Comprehensive Etymological Dictionary of the English Language, Volume II L-Z, Elsevier (1967).)
- see: W. Burkert, Greek Tragedy and Sacrificial Ritual, Berlin 1966
- Banham (1998, 1118). In his speculative work on the origins of Athenean tragedy, The Birth of Tragedy (1872), Nietzsche writes of this "two-fold mood": "the strange mixture and duality in the affects of the Dionysiac enthusiasts, that phenomenon whereby pain awakens pleasure while rejoicing wrings cries of agony from the breast. From highest joy there comes a cry of horror or a yearning lament at some irredeemable loss. In those Greek festivals there erupts what one might call a sentimental tendency in nature, as if it had cause to sigh over its dismemberment into individuals" §2 (Speirs 1999, 21).
- Banham (1998, 1118) and Williams (1966, 14-16).
- Williams (1966, 16).
- Williams (1966, 13-84) and Taxidou (2004, 193-209).
- Felski (2008, 1). See Dukore (1974) for primary material on most of these philosophers' writings on tragedy and Carlson (1993) for an analysis of them. Walter Benjamin's major work on tragic form is The Origin of German Tragic Drama (1928). Gilles Deleuze develops his theory of tragic representation in his collaboration with Félix Guattari, Anti-Œdipus (1972).
- See Carlson (1993), Pfister (1977), Elam (1980) and Taxidou (2004). Drama, in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a-generic deterritorialization from the mid-19th century onwards. Both Bertolt Brecht and Augusto Boal define their epic theatre projects (Non-Aristotelian drama and Theatre of the Oppressed respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation (2004, 193-209).
- Brockett and Hildy (2003, 13).
- This text is available online.
- Ley (33-34)
- Brockett and Hildy (2003, 43).
- Brockett and Hildy (2003, 36, 47).
- Brockett and Hildy (2003, 43). For more information on the ancient Roman dramatists, see the articles categorised under "Ancient Roman dramatists and playwrights" in Wikipedia.
- Brockett and Hildy (2003, 47).
- Brockett and Hildy (2003, 49).
- Brockett and Hildy (2003, 50).
- Brockett and Hildy (2003, 49-50).
- quoted in Christopher Headington, Roy Westbrook and Terry Barfoot (1987) Opera: a History p.22 of 1991 Arrow edition
- Headington et al. p.178
- Miller (1949, 894).
- Barker (1989, 13).
- Aristotle. Poetics, Trans. W.H. Fyfe. Cambridge: Harvard UP, 1932. Section 1452b
- Rorty, Amelie Oksenberg. Essays on Aristotle’s Poetics. Princeton: Princeton UP, 1992. Page 178
- Poetics, Aristotle
- Aristotle, Poetics. Section 1135b
- Chiari, J. Landmarks of Contemporary Drama. London: Jenkins, 1965. Page 41.
- Banham (1998, 517).
- Hermann Oldenberg (1922), Das Mahabharata, Göttingen
- Saunders, Virginia (1921), "Some Literary Aspects of the Absence of Tragedy in the Classical Sanskrit Drama", Journal of the American Oriental Society (Journal of the American Oriental Society, Vol. 41) 41: 152–6, doi:10.2307/593715, http://jstor.org/stable/593715
- Aristotle. 1974. "Poetics". Trans. S.H. Butcher. In Dukore (1974, 31-55).
- Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge UP. ISBN 0521434378.
- Barker, Howard. 1989. Arguments for a Theatre. 3rd ed. London: John Calder, 1997. ISBN 0719052491.
- Benjamin, Walter. 1928. The Origin of German Tragic Drama. Trans. John Osborne. London and New York: Verso, 1998. ISBN 1859848990.
- Bradley, A. C.. 1909. Oxford Lectures on Poetry. Reprint ed. Atlantic, 2007. ISBN 8171563791.
- Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell UP. ISBN 0801481546.
- Burkert, Walter. 1966. Greek Tragedy and Sacrificial Ritual Technische Universität Berlin. 1966.
- Deleuze, Gilles and Félix Guattari. 1972. Anti-Œdipus. Trans. Robert Hurley, Mark Seem and Helen R. Lane. London and New York: Continuum, 2004. Vol. 1 . New Accents Ser. London and New York: Methuen. ISBN 0416720609.
- Felski, Rita, ed. 2008. Rethinking Tragedy. Baltimore: Johns Hopkins UP. ISBN 0801887402.
- Hegel, G. W. F.. 1927. "Vorlesungen uber die Asthetik." In ''Samlichte Werke. Vol 14. Ed. Hermann Glockner. Stuttgart: Fromann.
- Miller, Arthur. 1949. "Tragedy and the Common Man." In Dukore (1974, 894-897). Originally published in The New York Times February 27, 1949.
- Pfister, Manfred. 1977. The Theory and Analysis of Drama. Trans. John Halliday. European Studies in English Literature Ser. Cambridige: Cambridge UP, 1988. ISBN 052142383X.
- Rabinowitz, Nancy Sorkin. 2008. Greek Tragedy. Blackwell Introductions to the Classical World ser. Malden, MA: Blackwell. ISBN 1405121610.
- Rehm, Rush. 1992. Greek Tragic Theatre. Theatre Production Studies ser. London and New York: Routledge. ISBN 0415118948.
- Schlegel, August Wilhelm. 1809. Lectures on Dramatic Art and Literature. Available online.
- Speirs, Ronald, trans. 1999. The Birth of Tragedy and Other Writings. By Friedrich Nietzsche. Ed. Raymond Geuss and Ronald Speirs. Cambridge Texts in the History of Philosophy ser. Cambridge: Cambridge UP. ISBN 0521639875.
- Taxidou, Olga. 2004. Tragedy, Modernity and Mourning. Edinburgh: Edinburgh UP. ISBN 0748619879.
- Williams, Raymond. 1966. Modern Tragedy. London: Chatto & Windus. ISBN 0701112603.
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