1.3.1

Overview of the Tragic Genre

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Tragic Conventions

A Streetcar Named Desire is an example of a modern dramatic tragedy. Here are some conventions from Classical tragedy:

High-class characters

High-class characters

  • In the past (particularly in the Greek and Roman Classical period, and in the Age of Shakespeare), tragedies often present the fall of high-status characters: for example, Kings, Emperors, Princes or Generals.
Status

Status

  • The idea was that with a high-status character, they have so much further to fall than a lower status character.
  • In effect, they have more to lose, whether it is their reputation, a love, respect, command or power.
Tragic flaw

Tragic flaw

  • The general idea is that one or more of the characters have a tragic flaw (something in their make up or character) that is problematical.
  • Usually, another character (often a tragic villain) tries to find weakness or the main character’s flaw, and aims to exploit that.
Spiral of tragedy

Spiral of tragedy

  • Once that tragic flaw has been identified, then very often the main character steps into a spiral of tragedy which they find it difficult to escape from.
  • They tend to blame everyone else but themselves.

Tragedy

In most tragedies, chaos results because the main character makes a set of poor decisions.

Chaos

Chaos

  • Chaos results because the main character makes a set of poor decisions.
  • These decisions not only impact upon the character themselves but also wider society and other characters around them.
  • The chaos reaches its climax when something happens which is impossible to change.
Remorse

Remorse

  • Only then does the main character reflect on what they have done, and they gain insight into their experiences.
  • They are usually filled with remorse and are either killed by a heroic figure or kill themselves because they can no longer face what they have become.
Society

Society

  • Once this character has been dispatched or removes themselves from events, only then can the wider society rebuild itself.
Jump to other topics
1

Context & Overview

1.1

The Author

1.1.1Tennessee Williams
1.2

Social Context & Setting

1.2.1Social Context1.2.2Social Issues1.2.3Setting
1.3

Tragedy

1.3.1Overview of the Tragic Genre1.3.2Modern Domestic Tragedy1.3.3End of Topic Test - Author, Context & Tragedy
2

Scene Summaries

2.1

Scene One

2.1.1Scene One: Summary2.1.2Scene One: Tragedy Ideas
2.2

Scene Two

2.2.1Scene Two: Summary & Tragedy Ideas2.2.2End of Topic Test - Scenes One-Two
2.3

Scene Three

2.3.1Scene Three: Summary & Tragedy Ideas
2.4

Scene Four

2.4.1Scene Four: Summary & Tragedy Ideas2.4.2End of Topic Test - Scenes Three & Four
2.5

Scene Five

2.5.1Scene Five: Summary & Tragedy Ideas
2.6

Scene Six

2.6.1Scene Six: Summary
2.7

Scene Seven

2.7.1Scene Seven: Summary & Tragedy Ideas
2.8

Scene Eight

2.8.1Scene Eight: Summary & Tragedy Ideas2.8.2End of Topic Test - Scenes Five-Eight
2.9

Scene Nine

2.9.1Scene Nine: Summary & Tragedy Ideas
2.10

Scene Ten

2.10.1Scene Ten: Summary & Tragedy Ideas
2.11

Scene Eleven

2.11.1Scene Eleven: Summary & Tragedy Ideas2.11.2End of Topic Test - Scenes Nine-Eleven
3

Character Profiles

3.1

Blanche DuBois & Stanley Kowalski

3.1.1Blanche DuBois - The Past & Illusions3.1.2Blanche DuBois - Relationship with Men & Breakdown3.1.3The Dynamic Between Blanche & Stanley3.1.4End of Topic Test - Blanche & Stanley
3.2

Stella Kowalski & Harold Mitchell (Mitch)

3.2.1Stella Kowalski3.2.2Harold Mitchell (Mitch)
3.3

Minor Characters

3.3.1The Hubbels & Other Characters3.3.2End of Topic Test - Stella, Mitch & Others
4

Key Ideas

4.1

Sex & Gender

4.1.1Sex & Desire4.1.2Masculinity & Femininity4.1.3End of Topic Test - Sex, Desire & Gender
4.2

Appearances, Fantasy & Reality

4.2.1Outer & Inner Appearances4.2.2Fantasy & Reality4.2.3End of Topic Test - Appearances, Fantasy...
5

Writing Techniques

5.1

Structure

5.1.1Structure & Stage Design5.1.2Linking Devices5.1.3Recurring Motifs
5.2

Genre, Form & Language

5.2.1Genre5.2.2Form & Language5.2.3End of Topic Test - Writing Techniques
6

Critical Debates

6.1

Early & Modern Reception

6.1.1Interpreting Blanche & Self-Pity6.1.2Contemporary & Modern Reviews
6.2

Feminist, Psychoanalytic & Marxist Approach

6.2.1Feminist Approach6.2.2Psychoanalytic Approach6.2.3Marxist Approach6.2.4End of Topic Test - Critical Debates
7

Ideas About Tragedy

7.1

Ideas About Tragedy

7.1.1Tragic Ideas & Villain7.1.2Tragic Structure & Language
8

Recap: Main Quotes

8.1

Main Quotes by Scene

8.1.1Scene One - Quotations8.1.2Scene Two - Quotations8.1.3Scene Three - Quotations8.1.4Scene Four - Quotations8.1.5Scene Five - Quotations8.1.6Scene Six - Quotations8.1.7Scene Seven - Quotations8.1.8Scene Eight - Quotations8.1.9Scene Nine - Quotations8.1.10Scene Ten - Quotations8.1.11Scene Eleven - Quotations

Practice questions on Overview of the Tragic Genre

Can you answer these? Test yourself with free interactive practice on Seneca — used by over 10 million students.

  1. 1
    Which character would have been most likely to experience a tragic fall in a Shakespearean or Classical Tragedy? Multiple choice
  2. 2
    The Unfolding of Chaos in Tragic PlaysPut in order
  3. 3
    How do tragic characters usually die?Fill in the list
  4. 4
    What does the high status of characters in classical tragedy typically signify?Multiple choice
  5. 5
    How does a tragic flaw affect the main character in a tragedy?Multiple choice
Answer all questions on Overview of the Tragic Genre

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Setting

Modern Domestic Tragedy