Dance music star MOBY is fascinated by the careers of MARY-KATE and ASHLEY OLSEN, comparing the twins' lives to a Shakespearean tragedy.
The singer, 39, says, "As far as the whole current crop of shallow, disposable celebrities, the Olsen twins are the ones who hold my attention for more than five minutes.
"Just the fact that they're rampantly self-medicating seems so interesting. There's something about them that just seems - not to be melodramatic - but they almost have this desperate, Shakespearean, tragic quality to them."
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Shakespeare wrote tragedies from the beginning of his career: one of his earliest plays was the Roman tragedy Titus Andronicus, and he followed it a few years later with Romeo and Juliet. However, his most admired tragedies were written in a seven-year period between 1601 and 1608: Hamlet, Othello, King Lear, Macbeth (his four major tragedies),and Antony & Cleopatra, along with the lesser-known Timon of Athens and Troilus and Cressida.
Many have linked these plays to Aristotle's precept about tragedy: that the protagonist must be an admirable but flawed character, with the audience able to understand and sympathize with the character. Certainly, each of Shakespeare's tragic protagonists is capable of both good and evil. The playwright insists always on the operation of the doctrine of free will; always, the (anti)hero is able to back out, to redeem himself. But, the author dictates, they must move unheedingly to their doom.
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Aristotle indicates that the medium of tragedy is drama, not narrative; tragedy “shows” rather than “tells.” According to Aristotle, tragedy is higher and more philosophical than history because history simply relates what has happened while tragedy dramatizes what may happen, “what is possibile according to the law of probability or necessity.” History thus deals with the particular, and tragedy with the universal. Events that have happened may be due to accident or coincidence; they may be particular to a specific situation and not be part of a clear cause-and-effect chain. Therefore they have little relevance for others. Tragedy, however, is rooted in the fundamental order of the universe; it creates a cause-and-effect chain that clearly reveals what may happen at any time or place because that is the way the world operates. Tragedy therefore arouses not only pity but also fear, because the audience can envision themselves within this cause-and-effect chain
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Plot is the “first principle,” the most important feature of tragedy. Aristotle defines plot as “the arrangement of the incidents”: i.e., not the story itself but the way the incidents are presented to the audience, the structure of the play. According to Aristotle, tragedies where the outcome depends on a tightly constructed cause-and-effect chain of actions are superior to those that depend primarily on the character and personality of the protagonist.
Character has the second place in importance. In a perfect tragedy, character will support plot, i.e., personal motivations will be intricately connected parts of the cause-and-effect chain of actions producing pity and fear in the audience. The protagonist should be renowned and prosperous, so his change of fortune can be from good to bad. This change “should come about as the result, not of vice, but of some great error or frailty in a character.” Such a plot is most likely to generate pity and fear in the audience, for “pity is aroused by unmerited misfortune, fear by the misfortune of a man like ourselves.” The term Aristotle uses here, hamartia, often translated “tragic flaw,” has been the subject of much debate. The meaning of the Greek word is closer to “mistake” than to “flaw,” and I believe it is best interpreted in the context of what Aristotle has to say about plot and “the law or probability or necessity.” In the ideal tragedy, claims Aristotle, the protagonist will mistakenly bring about his own downfall—not because he is sinful or morally weak, but because he does not know enough. The role of the hamartia in tragedy comes not from its moral status but from the inevitability of its consequences. Hence the peripeteia is really one or more self-destructive actions taken in blindness, leading to results diametrically opposed to those that were intended (often termed tragic irony), and the anagnorisis is the gaining of the essential knowledge that was previously lacking.
Thought is third in importance, and is found “where something is proved to be or not to be, or a general maxim is enunciated.” Aristotle says little about thought, and most of what he has to say is associated with how speeches should reveal character (context 1; context 2). However, we may assume that this category would also include what we call the themes of a play.
Diction is fourth, and is “the expression of the meaning in words” which are proper and appropriate to the plot, characters, and end of the tragedy. In this category, Aristotle discusses the stylistic elements of tragedy; he is particularly interested in metaphors: “But the greatest thing by far is to have a command of metaphor; . . . it is the mark of genius, for to make good metaphors implies an eye for resemblances”
Song, or melody, is fifth, and is the musical element of the chorus. Aristotle argues that the Chorus should be fully integrated into the play like an actor; choral odes should not be “mere interludes,” but should contribute to the unity of the plot.
Spectacle is last, for it is least connected with literature; “the production of spectacular effects depends more on the art of the stage machinist than on that of the poet.” Although Aristotle recognizes the emotional attraction of spectacle, he argues that superior poets rely on the inner structure of the play rather than spectacle to arouse pity and fear; those who rely heavily on spectacle “create a sense, not of the terrible, but only of the monstrous”
The end of the tragedy is a katharsis (purgation, cleansing) of the tragic emotions of pity and fear. Katharsis is another Aristotelian term that has generated considerable debate. The word means “purging,” and Aristotle seems to be employing a medical metaphor—tragedy arouses the emotions of pity and fear in order to purge away their excess, to reduce these passions to a healthy, balanced proportion. Aristotle also talks of the “pleasure” that is proper to tragedy, apparently meaning the aesthetic pleasure one gets from contemplating the pity and fear that are aroused through an intricately constructed work of art.
