The concept 'classical tragedy' can sometimes be misconstrued in the contemporary perspective of tragedy. In current times, we might relate a tragedy to a catastrophic occurrence such as a vehicular mishap or a natural calamity, frequently culminating in fatalities. However, to the ancient Greeks, tragedy implied more towards a mental state or a sense
...of personal grieving which was treated seriously. Through studying classical tragedy, I discovered that it typically revolves around a noble-born tragic protagonist possessing a tragic characteristic leading to their downfall, followed by a period of regret and finally catharsis.
The play Oedipus Rex is arguably the most acclaimed tragedy ever penned. The narrative follows the journey of Oedipus, the reigning monarch of Thebes, who upon learning of his city's devastation by conflagration and plague, dispatches his brother-in-law, Creon, to seek a solution from Delphi's Oracle of Apollo. Upon Creon's return, Oedipus initiates an inquiry into the murder of his antecedent, King Laius. Through various investigative avenues, he makes a shocking discovery that he was unwittingly the one who caused Laius's demise and subsequently wed his own mother, Jocasta. Blinded by guilt and remorse, Jocasta ends her life while a
devastated Oedipus blinds himself, bids a heartbreaking farewell to his offspring, and exits under guidance.
Oedipus Rex's story vividly portrays all the essential features of a classical tragedy. He is the King of Thebes, and hence is viewed as morally superior and belongs to the upper social stratum. His tragic flaws are characterized by his anger and pride. Rather than acknowledging his own wrongdoings, he prefers to point fingers at others. Ultimately, he faces the harsh reality that his entire life has been built on lies, when he understands he has murdered his biological father, married his own mother, and his offspring are also his siblings. Consequently, upon inducing his wife to end her life, he pierces his own eyes with pins.
Hence, this conclusion epitomizes a tragic and devastating finale. These themes of tragedy and devastation are similarly central to Fight Club, where a young man suffering from depression, credited only as "Narrator," finds no satisfaction in his job. In lieu of finding comfort in his work, he tries to distract himself by meticulously crafting the "perfect" living space. Plagued by insomnia and an increasing sense of disconnect from society at large, his desperation for human connection drives him to frequent support groups for terminally ill patients, finding solace in shared sentiments and tears.
On a corporate trip, he stumbles upon Tyler Durden, a charismatic, unbounded individual who is in the business of selling soap. Tyler is disinterested in the world driven by material possessions and subscribes to the belief that pain, adversity, and disorder can impart significant lessons. One particular evening, the protagonist returns to his apartment, only to find it reduced to ashes. Consequently, he
finds himself sharing drinks with Tyler at a bar for the remainder of the night. On their way out, Tyler boldly initiates a challenge for a fight to his newfound companion.
Our Main Character, who is the narrator, discovers that participating in bare-knuckle fights ignites a primal vitality within him that he hasn't felt in a long time. This leads to him and his adversary forming a bond and becoming roommates, with their ritualistic battles acting as their recurring rendezvous. This "fight club" gradually grew in popularity, establishing itself as an underground phenomenon. However, maintaining the confidentiality of its existence stood paramount among its members. Tyler, for instance, asserts, "The first rule of Fight Club is: you do not talk about Fight Club. The second rule of Fight Club is: you do not talk about Fight Club!". But as the Narrator's connection with Tyler further unfolds through their shared brutality, a peculiar scenario ensues when he realizes Tyler Durden is merely a figment of his imagination and that he high-handedly perpetrated severe criminal acts leading him onto an ominous path. As demonstrated, Fight Club encapsulates many features typical of classical tragedies; our protagonist grapples with his tormented psyche and a dominating force while trying to outsmart destiny which inevitably culminates in an ominous finale.
While Fight Club exhibits key qualities of a tragedy, I would argue that it does not conform to the traditional idea of a tragedy, owing to its satirical nature. In comparison to Greek tragedy which is frequently solemn, Fight Club can be seen more accurately as a satire than a conventional tragedy. Satire, which is prevalent in various literary works, seeks to highlight
human folliness or flawed organizations and governments through the use of irony, ridicule, or sarcasm (www. yourdictionary. com).
Fight Club's author employs both irony and sarcasm to mock human flaws, while the composer of Oedipus Rex takes a solemn approach and avoids the use of sarcasm. Thus, this essay has demonstrated that both Fight Club and Oedipus Rex exhibit key features and traits consistent with a classical tragedy. Each narrative involves a noble protagonist possessing flaws of pride and frailty, which leads them to violate moral or divine rules. Despite both scripts ostensibly aligning with the traditional tragedy format, my opinion leans towards viewing Fight Club as more of a satirical piece owing to its heightened self-awareness and comedic elements.
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