Christopher Rovira
ENG 102.7430
Professor Colleran
January 28, 2009
Tragedy: Conflicting Throughout the Ages
Greek tragedy is the foundation for all tragedies, as we know them today. Like the
human race, tragedy has evolved throughout the years and has changed depending on the
culture of the current era it was written in. H.D.F. Kitto is the author of an essay that
describes the differences between two types of tragedies written during two different
periods: Greek and Elizabethan. Kitto describes Greek tragedy as constructive, meaning
that the play rotates around one dominant philosophical idea. Kitto then describes
Elizabethan tragedy as representational, meaning it is less concerned with one
philosophical idea and more concerned with showing the “feel of ordinary life as we
know it.” When comparing the two types of tragedy, Kitto’s statement makes sense. By
examining the two plays, “Oedipus the King” and “Othello” we can see that Kitto is
correct in calling Greek tragedy constructive and Elizabethan tragedy as representational.
“Oedipus” is constructive because it was centered on only one philosophical idea: fate,
while “Othello” is representational because by demonstrating Iago’s deceptive wiles, it
gives the play the background of ordinary life. Also, through the use of the Clown in
“Othello”, life is added to the play, as it does not become overly tragic. These examples
prove that Greek tragedy is constructive and Elizabethan tragedy is representational.
Greek tragedies were written to prove one main philosophical concept. According
to Kitto, “When Aeschylus is constructing drama to embody the conception that wrong
must be punished, but that blind vengeance leads inevitably to further wrong and
ultimately to chaos, it is quite irrelevant that life comprises the comic as well as the
tragic, the small and simple as well as the great.” (Kitto 229) The same can be said for
Sophocles’ writing of “Oedipus.” Oedipus was wrong in that he killed his father, which
set a plague across the land. He then foolishly insulted the blind prophet Teiresias that led
him to continue his dark fate once he revealed the truth about his prophecy. It ended in
chaos once Oedipus blinded himself by tearing out his eyes. In the play Teiresias states,
“You have your eyes but see not where you are, in sin, nor where you live, nor whom you
live with. Do you know who your parents are? Unknowing you are an enemy to kith and
kin in death, beneath the earth, and in this life. A deadly footed, double striking curse,
from father and mother both, shall drive you forth out of this land, with darkness on your
eyes, that now have such straight vision… you shall learn the secret of your marriage,
which steered you to a haven in this house … misery shall grind no man as it will you.”
(Sophocles 413) This quote reveals the constructive philosophical idea of Oedipus’ fate.
Once Teiresias tells him of his fate, he is set down a path of chaos as he realizes his true
origin. In Sophocles’ play he shows that fate is an inescapable phenomenon that can ruin
a person who inquires too much. Fate is the one overriding idea in this Greek tragedy that
“Oedipus” revolves around, making it constructive.
Elizabethan tragedy was created during the reign of Queen Elizabeth. This type of
tragedy is representational, meaning that it is designed to represent ordinary life, as we
know it. Kitto believes that, “a background of ordinary life is an essential part of the
Elizabethan drama; that it is one of the means by which the central action is given solidity
and reality.” (Kitto 229) This means that by adding lifelike characters and qualities to the
play, you create Elizabethan tragedy. In “Othello”, Iago uses his deceitful and cunning
tactics to add an “ordinary life” aspect to the play. Iago remarks that, “Though I do hate
him as I do hell-pains, yet for necessity of present life, I must show out a flag and sign of
love, which is indeed but sign.” (Shakespeare I.I.164) On the front, Iago shows nothing
but love and loyalty for his superior, Othello. On the other hand, he does not truthfully
love him but in fact hates him with so much passion that he strives to ruin his life. This
use of slyness is an example of a human-like trait that can be contributed to ordinary life.
This representational situation is what makes an Elizabethan tragedy unique from Greek
tragedies.
Use of a humorous character is also attributed to creating the “ordinary life”
effect. As Kitto clearly points out, “ Since life contains the coming as well as the tragic,
the judicious introduction of the comic and the low – Eastcheap, gravediggers, jesters –
helps us to feel that the play is ‘true to life’, for here is the tragic action, surrounded by
life.” (Kitto 229) He feels that with the addition of a character of a ludicrous nature, it
adds a “true to life” aspect to the play, as “Othello” did. The conversation between the
Clown and Desdemona in Act III, Scene IV, albeit short, provides a simple example of a
little comic nature in a tragedy. Desdemona asks the Clown for the location of Lieutenant
Cassio and the Clown replies with witty remarks, such as when he declares “ I know not
where he lodges, and for me to devise a lodging, and say he lies here or he lies there,
were to lie in mine own throat.” (Shakespeare III.IV.8) This use of wit and humor brings
a light on a dark story such as the tragedy of “Othello.” The Greek tragedies do not use
such merry talk in the trilogy, but instead save all humor for the concluding satyr play.
So through use of these whimsical characters, the Elizabethan tragedies have a much
more realistic feel to them, thus making Elizabethan tragedy representational.
Although all tragedy derived from Ancient Greece, future example of tragedy did
not remain the same. Greek tragedy, as Kitto said was “constructive,” consisted of only
one main philosophical idea that the whole tragedy revolved around. This was evident in
“Oedipus the King” as fate was the main concept that it revolved around.
“Representational” tragedies such as those during the Elizabethan times used a “feel of
ordinary life as we know it.” In “Othello,” wily characters such as Iago gave off a feeling
of authenticity as his traits were something everyday people could relate to. Also in
addition to that, the use of comical characters such as the Clown in “Othello” brought a
feel of life to the tragedy that Greek tragedies such as “Oedipus” do not use. H.D.F
Kitto’s claim that Greek tragedy is constructive and Elizabethan tragedy is
representational is proved to be true.
WORKS CITED
Kitto, H.D.F. Form and Meaning in Drama: A Study of Six Greek Plays and of Hamlet.
New York: Methuen, 1956.
Shakespeare, William. Othello. Delaware: Prestwick House Inc.2005.
Sophocles. Oedipus the King. Sophocles I. Ed. Richard Lattimore and David Grene,
Trans. David Grene. Chicago: U of Chicago P, 1991