Introduction

Introducing Tragedy

The drama texts in AQA’s Aspects of Tragedy component can be said to fall into two main categories; classical tragedy and modern tragedy.

Classical tragedy

Originally written by Ancient Greek dramatists such as Sophocles and later revived and reinvented by playwrights such as Shakespeare.
Classical tragedy tends to focus on the suffering and downfall of powerful figures such as Kings.

Modern tragedy

Modern tragedy (or domestic tragedy), pioneered by late 19th Century dramatists such as Henrik Ibsen, inspiring American dramatists of the mid-20th Century such as Miller, Tennessee Williams and Edward Albee.

Comparison

Modern tragedies are ‘smaller scale’ when compared to Classical tragedy.
The protagonists of modern tragedy are often lowly figures and the action tends to be confined to domestic settings such as the family home, rather than affecting an entire nation or state.
However, modern tragedy still offers powerful storylines revolving around themes such as pain, failure and death.

Introducing Key Tragic Concepts

Tragedy is an ancient genre, the oldest surviving discussion of the genre being by Aristotle.

History of tragedy

Tragedy is an ancient genre, originating over two and a half thousand years ago in 5th Century BCE Athens and its surrounding areas.

Aristotle

The philosopher, Aristotle (384 BCE-322 BCE), wrote the oldest surviving discussion of the genre in his Poetics.
Aristotle examined how the tragedies of his time shared particular features and tried to assess its appeal to audiences.

Tragic concepts

Aristotle's ideas are still widely used today and we will look more closely at the following:
- The tragic hero (protagonist).
- The hero’s downfall, caused by a tragic flaw (hamartia or hubris).
- A moment of discovery or recognition (anagnorisis).
- Emotional release at the end of the play (catharsis).

Other concepts

Other useful concepts to explore include:
- Chaos and Disorder.
- Revenge.
- Inevitability.

1Introduction

1.1Introductions

1.1.1Author

1.1.2Historical Context

1.1.3Setting

1.1.4Social Issues

2Act One

2.1Key Events

2.1.1Staging

2.1.2Key Events 1&2

2.1.3Key Events 3&4

2.1.4Key Events 5&6

2.1.5Key Events 7&8

2.1.6Key Events 9&10

2.1.7Key Events 11&12

2.2Key Themes & Links

2.2.1Foreshadowing & Inevitability

2.2.2Time

2.2.3Settings

2.2.4Family

2.2.5Reality v Fantasy

3Act Two

3.1Key Events

3.1.1Key Events 1&2

3.1.2Key Events 3&4

3.1.3Key Events 5&6

3.1.4Key Events 7&8

3.1.5Key Events 9&10

3.2Key Themes & Links

3.2.1Pride

3.2.2Metaphor

3.2.3Self-Realisation

4Extended Passage Analysis

4.1Act One

4.1.1Staging

4.1.2The Woman

4.2Act Two

4.2.1In Howard’s Office

4.2.2The Final Confrontation

4.2.3The Requiem

5Character Profiles

5.1Willy & Linda Loman

5.1.1Willy Loman

5.1.2Linda Loman

5.2Biff & Happy Loman

5.2.1Biff Loman

5.2.2Biff's Relationship with Willy

5.2.3Happy Loman

5.3Other Characters

5.3.1Uncle Ben

5.3.2Charley

5.3.3Bernard

6Key Themes

6.1Concepts

6.1.1The American Dream

6.1.2Fathers & Sons

6.1.3Nature & the City

6.1.4Success

6.1.5Men & Women

7Writing Techniques

7.1Structure

7.1.1Act One

7.1.2Act Two

7.2Realism

7.2.1Introduction

7.2.2Staging

7.2.3Language

7.3Expressionism

7.3.1Introduction

7.3.2Staging

7.3.3Music

7.4Symbolism

7.4.1The Garden / Seeds

7.4.2Diamonds

7.4.3Alaska & Africa

7.5Motifs

7.5.1Introduction

7.5.2Cars

7.5.3Silk Stockings

7.5.4Money

7.5.5Mythological Figures

8Historical Context

8.1Historical Context

8.1.1Miller’s Family & The Great Depression

8.1.2America’s Recovery

9Literary Context

9.1Tragedy

9.1.1Introduction

9.2Applying Tragic Concepts

9.2.1The Tragic Hero

9.2.2The Tragic Flaw

9.2.3Recognition

9.2.4Emotional Release

9.2.5Chaos & Disorder

9.2.6Revenge

9.2.7Inevitability

10Critical Debates

10.1Introduction

10.1.1Introduction

10.2The Marxist Reading

10.2.1Marxist Analysis

10.2.2The Marxist Reading

10.3The Feminist Reading

10.3.1Feminist Analysis

10.3.2The Feminist Reading

10.4The Eco-Critical Reading

10.4.1Eco-Critical Analysis

10.4.2The Eco-Critical Reading

10.4.3Post-pastoral

10.5Other Debates

10.5.1The Play as Tragedy

10.5.2The Critics

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