The tragedy and the tragedian: An analysis of Shakespearean Tragedies

When Shakespeare first arrived in London in the late 1580s or early 1590s, dramatists writing for
London's new commercial playhouses (such as The Curtain) were combining two different strands of
dramatic tradition into a new and distinctively Elizabethan synthesis. Previously, the most common
forms of popular English theatre were the Tudor morality plays. These plays, which blend piety with
farce and slapstick, were allegories in which the characters are personified of moral attributes who
validate the virtues of a Godly life by prompting the protagonist to choose such a life over Evil. The
characters and plot situations are largely symbolic rather than realistic. As a child, Shakespeare
would likely have seen this type of play (along with, perhaps, mystery plays and miracle plays). The
other strand of dramatic tradition was classical aesthetic theory. This theory was derived ultimately
from Aristotle; in Renaissance England, however, the theory was better known through its Roman
interpreters and practitioners. At the universities, plays were staged in a more academic form as
Roman closet dramas. These plays, usually performed in Latin, adhered to classical ideas of unity and
decorum, but they were also more static, valuing lengthy speeches over physical action.
Shakespeare would have learned this theory at grammar school, where Plautus and especially
Terence were key parts of the curriculum and were taught in editions with lengthy theoretical
introductions.
For Shakespeare as he began to write, both traditions were alive; they were, moreover, filtered
through the recent success of the University Wits on the London stage. By the late 16th century, the
popularity of morality and academic plays waned as the English Renaissance took hold, and
playwrights like Thomas Kyd and Christopher Marlowe revolutionised theatre. Their plays blended
the old morality drama with classical theory to produce a new secular form. The new drama
combined the rhetorical complexity of the academic play with the bawdy energy of the moralities.
However, it was more ambiguous and complex in its meanings, and less concerned with simple
allegory. Inspired by this new style, Shakespeare continued these artistic strategies, creating plays
that not only resonated on an emotional level with audiences but also explored and debated the
basic elements of what it means to be human. What Marlowe and Kyd did for tragedy, John Lyly and
George Peele, among others, did for comedy: they offered models of witty dialogue, romantic
action, and exotic, often pastoral location that formed the basis of Shakespeare's comedic mode
throughout his career.
Shakespeare's Elizabethan tragedies (including the history plays with tragic designs, such as Richard
II) demonstrate his relative independence from classical models. He takes from Aristotle and Horace
the notion of decorum; with few exceptions, he focuses on high-born characters and national affairs
as the subject of tragedy. In most other respects, though, the early tragedies are far closer to the
spirit and style of moralities. They are episodic, packed with character and incident; they are loosely
unified by a theme or character. In this respect, they reflect clearly the influence of Marlowe,
particularly of Tamburlaine. Even in his early work, however, Shakespeare generally shows more
restraint than Marlowe; he resorts to grandiloquent rhetoric less frequently, and his attitude
towards his heroes is more nuanced, and sometimes more sceptical, than Marlowe's. By the turn of
the century, the bombast of Titus Andronicus had vanished, replaced by the subtlety of Hamlet.
Shakespeare reached maturity as a dramatist at the end of Elizabeth's reign, and in the first years of
the reign of James. In these years, he responded to a deep shift in popular tastes, both in subject
matter and approach. At the turn of the decade, he responded to the vogue for dramatic satire
initiated by the boy players at Blackfriars and St. Paul's. At the end of the decade, he seems to have
attempted to capitalise on the new fashion for tragicomedy, even collaborating with John Fletcher,
the writer who had popularised the genre in England.
During the reign of Queen Elizabeth, "drama became the ideal means to capture and convey the
diverse interests of the time." Stories of various genres were enacted for audiences consisting of
both the wealthy and educated and the poor and illiterate. Shakespeare served his dramatic
apprenticeship at the height of the Elizabethan period, in the years following the defeat of the
Spanish Armada; he retired at the height of the Jacobean period, not long before the start of the
Thirty Years' War. His verse style, his choice of subjects, and his stagecraft all bear the marks of both
periods. His style changed not only in accordance with his own tastes and developing mastery, but
also in accord with the tastes of the audiences for whom he wrote. While many passages in
Shakespeare's plays are written in prose, he almost always wrote a large proportion of his plays and
poems in iambic pentameter. In some of his early works (like Romeo and Juliet), he even added
punctuation at the end of these iambic pentameter lines to make the rhythm even stronger. He and
other dramatists at the time used this form of blank verse for a lot of the dialogue between
characters in order to elevate drama to new poetic heights. To end many scenes in his plays he used
a rhyming couplet for suspense. A typical example is provided in Macbeth: as Macbeth leaves the
stage to murder Duncan (to the sound of a chiming clock), he says,
Hear it not Duncan; for it is a knell
That summons thee to heaven or to hell.

Shakespeare's writing (especially his plays) also feature extensive wordplay in which double
entendres and clever rhetorical flourishes are repeatedly used. Humour is a key element in all of
Shakespeare's plays. Although a large amount of his comical talent is evident in his comedies, some
of the most entertaining scenes and characters are found in tragedies such as Hamlet and histories
such as Henry IV, Part 1. Shakespeare's humour was largely influenced by Plautus.
Shakespeare's plays are also notable for their use of soliloquies, in which a character makes a speech
to him- or herself so the audience can understand the character's inner motivations and conflict. In
his book Shakespeare and the History of Soliloquies, James Hirsh defines the convention of a
Shakespearean soliloquy in early modern drama. He argues that when a person on the stage speaks
to himself or herself, they are characters in a fiction speaking in character; this is an occasion of self-
address. Furthermore, Hirsh points out that Shakespearian soliloquies and "asides" are audible in the
fiction of the play, bound to be overheard by any other character in the scene unless certain
elements confirm that the speech is protected. Therefore, a Renaissance playgoer who was familiar
with this dramatic convention would have been alert to Hamlet's expectation that his soliloquy be
overheard by the other characters in the scene. Moreover, Hirsh asserts that in soliloquies in other
Shakespearian plays, the speaker is entirely in character within the play's fiction. Saying that
addressing the audience was outmoded by the time Shakespeare was alive, he "acknowledges few
occasions when a Shakespearean speech might involve the audience in recognising the simultaneous
reality of the stage and the world the stage is representing." Other than 29 speeches delivered by
choruses or characters who revert to that condition as epilogues "Hirsh recognises only three
instances of audience address in Shakespeare's plays, 'all in very early comedies, in which audience
address is introduced specifically to ridicule the practice as antiquated and amateurish.'
Shakespearean tragedy had never conformed to the Aristotelian rules of tragedy, but rather had a
ring of its own. In Aristotelian tragedies, the character has some flaw in character and is never
capable of good or evil. But a Shakespearian drama had an entirely different story to tell, in his
(Shakespeares) dramas we find that the central characters are capable of good and evil, and it is
their wrong choice that creates the calamity in his plays, rather than any unseen hand of fate. The
characters in his plays also have something known as a fatal flaw and it is due to this flaw that they
fall, but even with all this, the character in the drama (the hero) gets a chance to escape his fate, and
Shakespeare so effectively does it so that the readers feel as if the character had but could not make
use of his chance. But in Greek dramas on the other hand the fall of the character was pre-written,
the character Oedipus the king can be taken as an example, as his fall was a result of fate not his
own doing. Oedipus wanted to find out the truth and protect order and appease the gods, and it was
only due to the hand of fate that he found out that the man who killed the king was he himself, and
Jocasta whom he had married was his mother. But if Hamlet, one of Shakespeares tragic heroes, is
put in the dock, we find that he fell due to his own fatal flaw, indecision. We can find lots of
instances in the play where he is not able to take a strong decision regarding his actions. Like him
not being able to kill Claudius at one instance, and in the other when he says that frailty thy name is
woman to his love Ophelia, while later he laments at the death of the same Ophelia. There are lots
of similar instances in the play which shows us the same thing. If the play is read psychologically (the
usage of the word psychologically is permanent as this story yield more to the humanistic school of
psychology, which does not come under psycho-analysis.) Then we can find put that hamlet had a
conflict between his ought and ideal self. As ought was what he had to do, which was to kill his
uncle Claudius, while actual being him wanting peace. The next example can be Ophelia as she too
has a conflict with her selfs (ideal and ought), as her ought self which was influenced by her father
had given her the command to not have relationship with hamlet, but her ideal self wanted to love
hamlet and live a happy life with him, so both of there were in conflict. And when they were (or
when they are) it leads too discomfort, and that discomfort, I could argue that it led to her suicide.
Another feature of the Shakespearean drama is that the almost all tragic heroes had some fatal flaw
in their characters, like Hamlet had indecision, Macbeth had greed and Othello had distrust. And it is
due to these reasons that the character falls. And though there is a hand of fate that plays a role
behind them, Shakespeare characters till the end of the play have a chance of becoming victorious in
their fight with fate. But in the end all of Shakespeares characters (tragic) meet with their end.
These opportunities are given quiet explicitly in the text wherein the characters are told of their
upcoming fates, by either omens, oracles or other persons etc. an example of this can be taken from
Shakespeares historical play depicting the life of Julius Cesar, in the play Cesar is told in three
different circumstances that he shall be killed if he goes ahead, 1
st
by his wife Calpurnia, then by the
oracles, then he gets an omen. But even after all this he still goes ahead and meets his fate. One can
read Shakespeare as fatalistic in this circumstance, as all his characters meet an end (which is of
course sad) when their time has arrived. But where Shakespeare is different from Greeks can be
seen clearly seen with the fact of him giving or providing escape routes for his central characters in
the play.
If one tries to understand the structure, the structure of an Aristotelian or a Greek tragedy would be:

This is a typical diagram of a Greek tragedy, and has clear actions in them, like rising action and
falling action, and each of these two actions shows us exposition and denouement respectively.
From this diagram we get to see the near-perfect structure which a Greek tragedy has and in it
unlike Shakespearian tragedy, will have these occurrences in order and the character is bound to be
doomed since his birth as it is his fate. This structure here not only shows us how a Greek heros
future is fatalistic but also shows us the fatalism that the structure of the Greek drama has, in other
words it shows us how the structure has to, and can be only one in Greek dramas. Where there is a
clear rising, falling and a conflict lodged in between.
But a Shakespearian tragedy has an altogether different story to tell, if the drama is represented
pictorially it also shows us a structure similar to the Greek structure i.e. in idea, but it is show in an
entirely different way.


Freytags digram very beautifully shows us what a Shakespearean tragedy is, it like Greek tragedy
has a rising, conflict and falling action, but is filled up with certain other elements, which in the
drama till the end helps the central character escape his fate, which he sadly does not or could not
do.
So these would be some of the basic differences between Shakespearean and Aristotelian tragedy.