Tragedy

by Terry Eagleton

Overview

An exploration of tragedy and its fundamental position in Western culture

In this compelling account, eminent literary critic Terry Eagleton explores the nuances of tragedy in Western culture—from literature and politics to philosophy and theater. Eagleton covers a vast array of thinkers and practitioners, including Nietzsche, Walter Benjamin, and Slavoj Žižek, as well as key figures in theater, from Sophocles and Aeschylus to Shakespeare and Ibsen.
 
Eagleton examines the political nature of tragedy, looking closely at its connection with periods of historical transition. The dramatic form originated not as a meditation on the human condition, but at moments of political engagement, when civilizations struggled with the conflicts that beset them. Tragedy, Eagleton demonstrates, is fundamental to human experience and culture.

Product Details

ISBN-13:	9780300255904
Publisher:	Yale University Press
Publication date:	09/22/2020
Sold by:	Barnes & Noble
Format:	eBook
Pages:	216
File size:	754 KB

About the Author

Terry Eagleton is Distinguished Visiting Professor of English Literature at Lancaster University, and the author of more than fifty books in the fields of literary theory, postmodernism, politics, ideology, and religion.

Editorial Reviews

Eagleton suggests that for postmodernists who think unity of purpose is an illusion, tragedy simply highlights the fact. Certainly, an enduring point of tragedy is that some tragic events serve no obvious purpose.”—Nick Mattise, Insights Magazine

From the Publisher

Critic Terry Eagleton’s richly detailed and wide-ranging commentary on literary tragedy calls for an attentive ear and a narrator who is clear, steady, and unobtrusive. Irish-American narrator Roger Clark has already performed two of Eagleton’s titles. Clark, who studied in the U.K., has a heavy British accent reminiscent of the late actor James Mason. Given a narrative that routinely references names like Sophocles, Racine, and Goethe, he performs as if addressing Parliament. Eagleton is provocative, enlightening, a banquet for the mind. Even so, this is an audiobook that may appeal only to a specialized audience. D.A.W. © AudioFile 2020, Portland, Maine

OCTOBER 2020 - AudioFile

2020-06-30
Noted literary scholar Eagleton limns the literary genre of tragedy, “an aristocrat among art-forms.”

The author is among the most influential Marxist students of literature, and though he is by no means doctrinaire, he does locate the political dimension in tragedy, which, he holds, “began life as a political institution,” a vehicle by which the ancient Greek polis asserted and reinforced its values. The old joke that comedy is what happens when you fall down a staircase, while tragedy is what happens when Ifall down that same staircase, doesn’t quite land with Eagleton, who finds much more serious elements in the transformation of tragedy into a kind of anti-politics, now a sort of repudiation of the workaday world in favor of something more elemental and exalted. Still, the old models hold: Sophocles’ Oedipus at Colonusaffirmed the creation of a political institution while the Oresteiacommemorated the transition of the polis from a vendetta-based system of justice to an actual legal system. Eagleton can be snippy about some of the figures that appear in his analysis, such as the principal actor of the New Testament. “There is nothing in the least noble or edifying about the squalid death of its low-life protagonist,” he writes, “a death traditionally reserved by the Roman imperial power for political insurgents.” Jesus as low-life is a curious formulation. Similarly, Eagleton rejects some of the noncathartic events that are commonly pegged as “tragic” today, such as the Holocaust. He links the tragic movement as a manifestation of free will: Jesus, whom he later elevates from his former scorn, did not have to appear at Golgotha to take his place on the cross, and neither did Agamemnon have to slay Iphigenia. The clash between “fate and freedom,” as he puts it, is really an argument between different ideas of freedom and a reminder that though we may be free, we are not always in charge of our lives.

An accessible, provocative, and philosophically rich view of a primal literary expression.

Kirkus Reviews