Elizabethan Tragedy

Elizabethan Tragedy
describes the type of tragedy that may be applied to Shakespeare's
writing. This type of tragedy typically centers around one character. The story
, next, leads up to and includes the death of this character, who is seen as the
story s hero. More specifically referred to as "a tragic hero" in Elizabethan Trage
dy. The death of a tragic hero never comes easily or quickly. Instead a troubled
part of the hero's life leads up to his death. The suffering and calamity of th
e hero must also be of an exceptional nature. In other words an essentially prev
ious happy existence must be shattered by some unforeseen calamity. "A total rev
erse of fortune, coming unawares upon a man who stood in high degree, happy and
apparently secure, - such was the tragic fact to the medieval mind."
Continuing along this line, in a Shakespearean tragedy, the hero must always co
ntribute in some way to his downfall and the resulting tragedy. In other words,
the tragedy follows inevitably from the deeds of men, and the main source of the
se deeds is the character himself. Thus a hero is generally considered to be a t
ragic figure when his own deeds and character traits bring about the calamity in
which he is involved.
If we want to look in another direction for the meaning of tragedy,we can look
at the hero himself. Are there any common qualities that seem to apply to most o
f the tragic heroes in Shakespeare? One obvious characteristic is that they are
all great or exceptional persons, person of high degree and/or public importance
. Besides this, however, their nature must be exceptional and must generally rai
se them above the general of humanity. These characters must be paragons of mank
ind; however, but must have at least one trait,referred to as "a tragic flaw", w
hich leads to their downfall. Because of this one trait, they are unable to resi
st or are often unconscious of a breach of right; in some it is accompanied by f
ull conviction of right.
Shakespeare's general plan (of tragedy) is to show one set of forces advancing,
in secret or open opposition to the other to some decisive success,and then driv
en downward to defeat by the reaction it provokes. Most tragedy comes into one o
f two categories: either the tragedy of greatness, or the tragedy of innocence.
Of the three types of plays recognized in the Shakespeare First Folio -- Comedi
es, Histories, and Tragedies -- the last has been the most discussed annnd is cl
earest in outline.
1. Tragedy must end in some tremendous catastrophe involving in Elizabethan pra
ctice the death of the principal character.
2. The catastrophe must not be the result of mere accident, but must be brought
about by some essential trait in the character of the hero acting either direct
ly or through its effect on other persons.
3. The hero must nevertheless have in him something which outweighs his defects
and interests us in him so that we care for his fate more than for anything els
e in the play. The problem then is, why should a picture of the misfortunes of s
ome one in whom we are thus interested afford us any satisfaction? No final answ
er has yet been found. Aristotle said that the spectacle by rousing in us pity a
nd fear purges us of these emotions, and this remains the best explanation. Just
as a great calamity sweeps from our minds the petty irritations of our common l
ife, so the flood of esthetic emotion lifts us above them.
In the drama of Marlowe the satisfaction appears to depend, not on the exciteme
nt of the catastrophe, but on the assertion of the greatness of man's spirit; an
d this seems to have been the theme also of Senecan tragedy. It will be remember

ed that the first part of Tamburlaine ends, not in his death, but in his triumph
, and yet we feel that the peculiar note of tragedy has been struck. We have the
true tragic sense of liberation. Kyd also asserted the independence of the spir
it of man, if he is prepared to face pain and death