Let me here remind you that the essence of dramatic tragedy is not unhappiness. It resides in the solemnity of the remorseless working of things. This inevitableness of destiny can only be illustrated in terms of human life by incidents which in fact involve unhappiness. For it is by them that the futility of escape can be made evident in the drama. This remorseless inevitableness is what pervades scientific thought. The laws of physics are the decrees of fate.

Only twice in literary history has there been a great period of tragedy, in the Athens of Pericles and in Elizabethan England. What these two periods had in common, two thousand years and more apart in time, that they expressed themselves in the same fashion, may give us some hint of the nature of tragedy, for far from being periods of darkness and defeat, each was a time when life was seen exalted, a time of thrilling and unfathomable possibilities. They held their heads high, those men who conquered at Marathon and Salamis, and those who fought Spain and saw the Great Armada sink. The world was a place of wonder; mankind was beauteous; life was lived on the crest of the wave. More than all, the poignant joy of heroism had stirred men’s hearts. Not stuff for tragedy, would you say? But on the crest of the wave one must feel either tragically or joyously; one cannot feel tamely. The temper of mind that sees tragedy in life has not for its opposite the temper that sees joy. The opposite pole to the tragic view of life is the sordid view. When humanity is seen as devoid of dignity and significance, trivial, mean, and sunk in dreary hopelessness, then the spirit of tragedy departs. “Sometime let gorgeous tragedy in sceptred pall come sweeping by.” At the opposite pole stands Gorki with The Lower Depths. Other poets may, the tragedian must, seek for the significance of life. An error strangely common is that this significance for tragic purposes depends, in some sort, upon outward circumstance, on pomp and feast and revelry, With mask, and antique pageantry — Nothing of all that touches tragedy. The surface of life is comedy’s concern; tragedy is indifferent to it. We do not, to be sure, go to Main Street or to Zenith for tragedy, but the reason has nothing to do with their dull familiarity. There is no reason inherent in the house itself why Babbitt’s home in Zenith should not be the scene of a tragedy quite as well as the Castle of Elsinore. The only reason it is not

The essence of dramatic tragedy is not unhappiness. It resides in the solemnity of the remorseless working of things.

A tragedy is a representation of an action that is whole and complete and of a certain magnitude. A whole is what has a beginning and middle and end.

I recall a discussion with a highly-respected psychotherapist colleague and friend on the significance of the tragedy of Romeo and Juliet. My friend stated that the trouble with Romeo and Juliet was that they hadn't had adequate counseling. If they had had, they would not have committed suicide. Taken aback, I protested that I didn't think that was Shakespeare's point at all, and that Shakespeare, as well as the other classical writers who have created and molded the literature which speaks to us age after age, is in this drama picturing how sexual love can grasp a man and woman and hurl them into heights and depths — the simultaneous presence of which we call tragic.

But my friend insisted that tragedy was a negative state and we, with our scientific enlightenment, had superseded it — or at least ought to at the earliest possible moment. I argued with him, as I do here, that to see the tragic in merely negative terms is a profound misunderstanding. Far from being a negation of life and love, the tragic is an ennobling and deepening aspect of our experience of sexuality and love. An appreciation of the tragic not only can help us avoid some egregious oversimplifications in life, but it can specifically protect us against the danger that sex and love will be banalized also in psychotherapy.

Comedy = tragedy + time.

Often to understand, we have to look into emptiness.

To write tragedy, a man must feel tragedy. To feel tragedy, a man must be aware of the world in which he lives. Not only with his mind, but with his blood and sinews.

Tragedy is an unfinished comedy.

time fleets, youth fades, life is an empty dream,

In tragedy anything comic is a blemish and in comedy anything tragic is ugly

If the Greeks had left no tragedies behind for us, the highest reach of their power would be unknown. The three poets who were able to sound the depths of human agony were able also to recognize and reveal it as tragedy. The mystery of evil, they said, curtains that of which “every man whose soul is not a clod hath visions.” Pain could exalt and in tragedy for a moment men could have sight of a meaning beyond their grasp. “Yet had God not turned us in his hand and cast to earth our greatness,” Euripides makes the old Trojan queen say in her extremity, “we would have passed away giving nothing to men. They would have found no theme for song in us nor made great poems from our sorrows.” Why is the death of the ordinary man

All tragedies deal with fated meetings; how else could there be a play? Fate deals its stroke; sorrow is
purged, or turned to rejoicing; there is death, or triumph; there has been a meeting, and a change. No one
will ever make a tragedy-and that is as well, for one could not bear it-whose grief is that the principals
never met.

Is it not the singularity of life that terrifies us? Is not the decisive difference between comedy and tragedy that tragedy denies us another chance? Shakespeare over and over demonstrates life’s singularity — the irrevocability of our decisions, hasty and even mad though they be. How solemn and huge and deeply pathetic our life does loom in its once-and doneness, how inexorably linear, even though our rotating, revolving planet offers us the cycles of the day and of the year to suggest that existence is intrinsically cyclical, a playful spin, and that there will always be, tomorrow morning or the next, another chance.