Tragic Elements în Thomas Hardys Major Novels

Foreword

Tragedy is a term with many meanings and various critics and writers have endeavoured to give a definition of this concept. It can be applied to drama, poetry an fiction and its general function is to celebrate the individual’s dignity and greatness in the face of defeat.

This paper is aimed at giving more a practical application than a theoretical account on the concept of tragedy and at emphasizing Hardy’s position as a modern tragic writer.

In the introduction there are presented some theoretical aspects related to this subject starting with Aristotle’s definition given in his Poetics, followed by some opposed critical views expressed by modern writers. The three major types of tragedy have been defined here (tragedy of destiny, tragedy of psychology and tragedy of hybris) being applied to Hardy’s tragic novels: Tess of the D’Urbervilles, Jude the Obscure and The Mayor of Casterbridge.

The first chapter focuses on the novel The Mayor of Casterbridge seen as a tragedy of hybris. Michael Henchard is a tragic hero because he breaks a universal moral law by selling his wife and child for five guineas under the influence of his overwhelming pride. The novel combines tragic elements from the Greek tragedy with modern ones.

The second chapter entitled Tess of the D’Urbervilles. A Tragedy of Transition underlines Tess’s position as a victim both of “fatum malus” and of her own tragic flaw represented by an exaggerated guilt and an impulsive, passionate personality.

The last chapter deals with Hardy’s protagonist, Jude Fawley who is torn between “flesh” and “spirit”. This duality becomes his tragic flaw and reinforces his position as a tragic hero, incapable of finding peace and happiness in a disordered world.

I have chosen to analyse this subject because Hardy remains an important Victorian writer who underlined man’s greatness in failure pointing out some deficiencies in the modern society.

INTRODUCTION

For centuries tragedy was a debated concept and various writers have endeavoured to define it and to express their opinion about tragic plot and tragic themes. An outstanding representative of these is Thomas Hardy who was influenced by the Greek tragedy, the Old Testament and Shakespeare in his artistical orientation and helped him become a great tragic writer.

The etymology of the word “tragedy” is very elusive and it can be traced to the Greek word “tragoidia” which literally means “goat-song”. The term can be defined as a dramatic presentation of serious actions in which the main character that is the tragic hero has a disastrous fate. This definition can satisfy us at a superficial level and that is why we shall try to echo other critics’ opinion on the subject.

The first flourishing period for tragedy was during Aristotle time the first who tried to define this form of art in Poetics.

He states that tragedy is “the imitation of an action that is serious, complete and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions” And he continues: “Every Tragedy must have six parts, which parts determine its quality – namely Plot, Character, Diction, Thought, Spectacle, Song”

The philosopher thinks that a work is a tragedy only if it arouses pity and fear. The feelings they arouse are subordinated to another effect which culminates in a cleansing of those passions and this is the famous catharsis.

Though used only once in Poetics, the word “catharsis” does not clearly explain what it means and we could say that it is an experience which touches the inner most being of each man. It is not only a purgation but also a purification and it is possible that tragedy purifies the feelings themselves of fear and pity.

Karl Jaspers believes that “paradoxically when man faces the tragic, he liberates himself from it. This is one way of obtaining purification and redemption” And in Hardy’s Jude the Obscure we encounter this form of catharsis.