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Introduction
This paper will discuss two characteristics of tragic dramatic literature, especially as expressed in Hamlet. Tragic drama may be defined as a simulation of reality which appears to be somber, with an immerse magnitude, which is expressed to induce a sense of fear or pity with an embellishment of the artistic ornamental class and it could effect the appropriate purgation of one’s emotions. For a piece of dramatic literature to be tragic, it could necessarily humiliate or deformer the esteem or respect of a celebrated person. Tragic drama expresses the terrible limitation of justice or order, or it incites their irrelevance regardless of the sophistication of science and technology to which they may be dependent. Conclusively, tragic dramatic literature aims at creating an impression of destruction and mockery to a prestigious individual whom it attacks.
The Dramatic Tragedy in Hamlet
The play, Hamlet, is distinctively dramatic and displays high level of suspension with several instances of murder. Thus, with a good characteristic of inciting emotions of anger and bitterness to viewership, it is said to be a tragedy and particularly one of Shakespeare’s very best. Among the several incidences of death in the play, there is the unfortunate early death of blameless Ophelia. There is also an incidence of murder of Polonius and King Hamlet, two warm-hearted fathers. Following such tragic events, the play is followed by plots of retribution. Some of such revenges are those of Fortinbras, Laertes, and Hamlet. The progress of the play takes with it a progress of abhorrence which is notable among a number of the play’s characters. Only at an instance of attentiveness, a spectator will at this point begin to see Claudius and Hamlet having leading tragic roles in the play. Furthermore, when examined very carefully again, Claudius edges forward with several revengeful plots and then he forsakes a bloody kingdom for Fortinbras. By this, is becomes obvious the tragic role he plays.
The play hamlet can therefore be appropriately said to be full of muder and evil. Hamlet is lead away to England on clear evil motives. This rebounces to an ultimate disaster where Guildenstern and Rosencrantz die.The words of Shakespeare are as follow:
Do it, England;For like the hectic in my blood he rages,And thou must cure me: till I know ’tis done,Howe’er my haps, my joys were ne’er begun. Claudius later inspires revenge in Laertes when he persuades him to avenge his father”tms death by killing Hamlet. However, Laertes was acting because of grief, yet Claudius”tm will towards killing Hamlet was because of his evil character. ( I, v, 29-45 )
The path of vengece is distinctive at this point and even though turning the kingdom to his possession is his primary target for a while, he didn”tmt envisage to accept it in thye present state tragedy a state of disorder
Two Characteristics of Tragic Dramatic Literature
A characteristic of tragic drama is its life-blood without which the significance of its being is lost. The characteristic presents the feature of the drama and avails it moral dimensions.
One of such life-blood or characteristic of a tragic dramatic literature is that it has a focal personage to be morally excellent with an apt heroic composure; it is real in its expression, and actively consistent. This is notable of the main character’s tragedy in Hamlet, his repute was deformed circumstantially (Adoke 189). The collapse of the central figure’s fortune must slide from a celebration end to total failure and may even involve destruction. According Steiner (47), the ruin of the prestige of such a central figure is usually as a result of some kind of fatal flaws in the individual’s action or it is consequent of an erotic verdict, which is referred to in Greek as Hamartia (Sommerstein 3). The hero’s collapse could also be linked with ‘hubris’.
The tragic dramatist is saddled with the responsibility to ensure a suitable heroic character and the same places it in an articulate plot which’s target is to limit the action for the benefit of evoking sadness, pity, and fear in the spectators as is usual with the fall of the mighty.
Considering another point, for a piece of literature to be tragically dramatic, it h has to have a characteristically expressed form which should give room for dialogue and interchange with songs that are choral. The negotiation permits the chorus to state a remark in the embodiment of its songs, generally. According to Sommerstein,
‘Most tragedies begin with an opening scene of expository dialogue or monologue called a prologue (Sommerstein 69).
Subsequent to the preface, the chorus goes in agreement with the orchestra pronouncing the parodos. It could, at the instance, go in agreement with a dialogue panorama that has been termed an episode, and which also is tagged on with the original stasimon.Hereafter, the last dialogue’s scene or an exodus is done. The exodus, generally, is the odialogue’s scene, however, like it is the case with episodes, from time to time songs are incorporated, particularly, they may be in a sort of kommos.
Conclusion
This paper discusses characteristics of tragic dramatic literature and agrees that for an act to be dramatically tragic, it must be acted to totally invoke horror, feelings of anger, resentment, and evil. For a piece of dramatic literature to be tragic, it could necessarily humiliate or deformer the esteem or respect of a celebrated person. Tragic drama expresses the terrible limitation of justice or order, or it incites their irrelevance regardless of the sophistication of science and technology to which they may be dependent. The tragic dramatist is saddled with the responsibility to ensure a suitable heroic character and the same places it in an articulate plot which’s target is to limit the action for the benefit of evoking sadness, pity, and fear in the spectators as is usual with the fall of the mighty. Tragedy is usually carried out on a likable personality.
Works Cited
Adoke, Obaje. Characteristics of a Tragic Movie. Ibadan: University Press, 2005. Print.
Sommerstein, Adams. Tragedy, Comedy and the Polis. Bari: Levante Editori, 1993. Print.
Steiner, George. The Act of Acting. London: Lamba, 2001. Print.
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