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Tragedy (Critical Idiom S), by Clifford Leech
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Professor Leech considers the significance of the term ‘Tragedy’ as it has been used from classical times to the present day. He gives examples of tragic writing from a wide variety of dramatic literatures and relates theoretical writings on tragedy and the tragedies that have been contemporaneous with them. Free reference is made to critics from Aristotle to these of the present. Special stress is laid on the tragedies of the Greeks, of Renaissance writers and of our immediate contemporaries, notably Harold Pinter and Tom Stoppard. There is also discussion of tragic writing in the modern novel.
- Sales Rank: #3034487 in eBooks
- Published on: 2002-09-11
- Released on: 2002-09-11
- Format: Kindle eBook
About the Author
University of Durham
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Madness in great ones must not unwatched go
By Shalom Freedman
Clifford Leech begins his treatment of 'Tragedy ' with a chapter of citations from many of the most well- known writers about Tragedy, Aristotle, Nietzsche, Bradley ,George Steiner. He then begins his own discussion most naturally with the Greeks, the true inventors of 'tragedy' ( goat- song ) as we understand it. He discusses Aristotle 's theory of tragedy, and then the three great Greek exemplars Aeschylus, Sophocles, Euripides and takes up through modern times, though surprisingly does short shrift with an area he knows much about, and one most central to our whole understanding of Tragedy, Elizabethan Shakespearean Tragedy .
In speaking of Greek tragedy he reminds us, that the suffering of tragedy leads to a kind of , what he calls, 'growing "These dramatists offered no promise of an after- life of bliss for the man who won to such recognition: the thing was good in itself. It was good for man to know what man is, how guilty he is. There was a kind of 'redemption' in the act of 'recognition' itself.'
In perhaps the most interesting chapter of the work Leech talks about the Tragic hero. He speaks of the Tragic Hero as being a somehow 'fuller kind of being' than most of us. As I understood it the ' tragic hero ' is by his nature an aristocrat, a king, a prince. If he were not high- up how could he possibly go through the 'fall' that Tragedy is.
The Tragic hero after all is one whose 'hamartia'( or fatal flaw) somehow leads to his downfall. The excess of Macbeth's ambition, is a classic example. But as Leech points out there are cases where the situation is more ambiguous ,as in the fall of Oedipus whose failure to see may in some deep way be more a question of Fate than of Freedom.
This work is a small one and does not touch deeply upon many of the greatest questions raised by the Critics of Tragedy. It does however provide a certain insight as when Leech talking about the idea that our concept of Tragedy has developed only in the past two centuries tries to define the 'tragic sense of life.'It is when we understand that 'that all men exist in an evil situation, and if they are aware, are anguished because they are aware. Hegel emphasized a necessary opposition of forces dividing man from man and man from himself, Kierkegaard a desperate need to break out from an imposed pattern, Nietzsche the joy that can come when in tragic writing Dionysius and Apollo are made to swell together.'
I found this work again interesting at points but on the whole not really satisfying. To do that it would have to have gone deeper into what makes the greatest heroes of tragedy , Hamlet, Lear, Macbeth so deeply moving to us.
I will only say that on a personal note when I first read Tragedy in a serious way under the tutelage of the late Elizabeth Buckley of Troy High School I understood that it was not confined to the stage of another time or another world, not confined to kings or princess but was a deep revelation of the human mind and heart in experience as I had intimated it in my own great father's life. He who truly 'bestrode the world like a colossus' in his greatest moments did when he fell fall so deeply and painfully that the human heart could not help but be moved to depths and pains it could not possibly understand or be redeemed from.
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