Tragedy is Better Drama

An interesting point came up in a conversation recently.

Some background is necessary before I begin. I had self-confidence problems until very recently. The details of this are irrelevant to this discussion, suffice to say I am working on it. I am much more positive and confident than I used to be.

My song lyrics quotes garnered justifiable criticism from my friends for being downcast and negative. It was suggested that I was slipping back into my harshly negative ways.

Fortunately, while this was not the case, a discussion on negativity and positivity in literature was prompted. The question is simple:

Why is it that nearly all great drama is tragic?

Before I answer this, I want to understand the question. This is a trick I learned from studying Mathematics in University. Before you can fully understand an answer to a question, you first need to fully understand the question.

I am also aware that some of my more literary acquaintances vehemently disagree. This is a good thing. Discussion and debate are good for the soul.

So what exactly do I mean when I say that "nearly all great drama is tragic?"

At its essence, there are two types of drama: tragedy, those with a sad ending, and comedy, those with a happy ending. Thus is the classic symbol for drama two harlequin masks, one with a smiling face (comedy) and one with a scowling face (tragedy). These two words have changed in meaning today, but I will use the original definitions in this writing.

Of course, what constitutes a comedy and a tragedy can change as cultural values alter over time. The Merchant of Venice was originally a comedy, but I seriously doubt anyone today would consider its ending to be happy.

Given the above, we could rewrite the question as "Why are sad endings more dramatic?" Is it a case of base schadenfreude? Are humans still malicious enough to consider the fall of the greater better than the rise of the lesser?

It is an interesting question. I can only presume these questions have been asked and answer by much greater minds than I. Such things border on the philosophical, and Aristotle postulated that the viewing of tragedy was cathartic to the human psyche.

I do not know enough of philosophy or psychology to truly have an opinion on that comment, but I do have some thoughts on the big question.

So why is it that nearly all great drama is tragic?

I have pondered for some time on this. I still do not have an explanation with which I am fully satisfied. I think Aristotle's idea has merit. It facilitates, however implausibly, the excusing of our failures. Watching a man like Hamlet deteriorate gives us hope. We think to ourselves

"Here is a great man, heir to the throne of Denmark. Even a man such as he can destroy everything. My failings are much less in comparison."

I believe this is a more complex issue though.

Life is harsh. It is cruel. We all know this. While we crave happy endings to tales, tracks and tape, we instinctively accept it is escapism.

Tragedy hits us harder since it is more familiar. We can often empathise with it. As Othello is consumed with rage, frustration and a lust for vengeance, we see ourselves doing the same.

We do not live in a Hollywood film. The special someone is married, or "just wants to be friends." The lying cheater gets the promotion, getting away with stealing the credit for your work. In your one big chance for sporting success, you fail.

While this knowledge can be cathartic, it is also more real. We see it happen every day. Escapism is short term, so it does not endure. In the film Awakenings, Leonard Lowe reverts to catatonia, arguably worse off.

Perhaps this is why I have always loved "Chasing Amy" so much. A genuinely funny film about a ludicrous situation, no-one can question its comedic status. Provocative and edgy, the final few minutes floored me. We do not get our ending because some things cannot be forgiven or undone.

I am sure there is a large body of literary thought on this topic, but I am unaware of it. I would be interested to know what the experts think.