Most Tragedies are Not

Oedipus with the Sphinx, from an Attic red-figure cylix, ca. 470 BC (Vatican Museum)


Nitpicky word usage posts are, no doubt to the relief of the reader, not my usual essay type. However, I would like to raise an objection to the pervasive use of the word "tragedy" in popular media. The misuse of tragedy, in fact, has now nearly escalated to the level of abuse perpetrated with "impact," which is now far more often used to mean "effect" or "influence" instead of its proper meaning of "collision." My students know all too well how that particular malapropism raises my hackles.

Most of what is labeled as "tragedy" these days is simple misfortune. When bad things happen, it is not unreasonable to call them "disasters" (literally, "bad stars" or ill fate), or terrible accidents. Clearly, bad things do happen, and we as human beings feel sympathy for those harmed, particularly if such misfortunes come as a result of no action of the victims. It does seem, though, that "tragedy" is increasingly applied to every school shooting, motor vehicle accident, military casualty, or health problem featured in the media. This, however, is not appropriate use of the term, as tragedy should really only be used in special circumstances.

Tragedy has a particular meaning, and while it does include the unfortunate downfall or destruction of the protagonist in a classical, dramatic context, the destruction or suffering of the principal character is not the only requisite element. The protagonist must be of heroic stature, larger than life, and must be a good person or at least have qualities that are admirable, so that the audience identifies with or approves of that character. There is no sympathy for the destruction of a purely evil character. And, of equal importance, the downfall of the protagonist comes about as a result of some weakness, the "tragic flaw."

Perhaps the most famous of the ancient tragedies is Oedipus Rex. Oedipus, while loved by the people of Thebes for saving them from the plague, displays the flaw of hubris, or excessive pride. This is particularly apparent when he refuses to yield the road to an older man. In the ensuing fight, the man is killed by Oedipus, who is unaware that the man is his father. Of course, the other part of the prophecy concerning Oedipus has to do with his unwittingly marrying his own mother, Jocasta, which has led to Oedipus' Freudian immortalization.

Tragedy, of course, need not be relegated to the description of theatrical or literary works. There are real-life tragedies, and it is perfectly reasonable to describe them as such. However, before CNN slaps the tragedy label on a story, it would be prudent for the copywriters to consider the elements of the definition:

1. Does the story concern a person of great stature, generally seen as "good" by most?

2. Does/did the person have a particular flaw or make a particular mistake in spite of being "good" in the eyes of the public?

3. Did the flaw/mistake cause this person’s downfall or injury or death?

4. Does the public feel sympathy for the fallen person?

If the above conditions aren't met, the event is not a tragedy in the classical sense. Even with this restricted definition, we can point to plenty of contemporary tragedies in the world. Just as with plays or novels, real-life tragedy produces what one of my 8th-grade English teachers eloquently described as the "holy s&*# response," or the somewhat more literary, "there but for the grace of God go I" (spoken by The Rev. George Whitefield as he watched a condemned criminal being led to execution). We feel for the fallen hero, because we recognize in ourselves a similar flaw or all-too-human weakness, and we are led to conclude that if even a person of heroic stature can be laid low by this weakness, we must be doubly on our guard against it. It is thus a didactic tool in the hands of the playwright and the novelist, and we can similarly draw valid lessons from real-life examples.

We have all seen tragedies, either in the media or personally. We all know of great people who have fallen as a result of a flaw or mistake. It is natural to be sympathetic, and it is important to learn from such unfortunate examples. The result, at least according to dramatic theory, is a catharsis or cleansing that comes from the realization that we recognize the tragic flaw, and that we can take steps to avoid it in our own lives.

So, please use "tragedy" responsibly. It is an especially potent word with significant connotations. And, when you witness a genuine tragedy unfold, it is entirely appropriate, indeed necessary, to give way to sympathy for the fallen hero, and to understand that the flaw or mistake is a mark of humanity even in the context of greatness. The ancient Greeks understood this well, and knew that sympathy for human frailty, even in those we most revere, was important to our society and to our very souls.

There but for the grace of God go any of us.

-PMÓS