Quotes & Sayings About Literary Tragedy

Mankind is immortal
in the comic perspective not by virtue of man's subjugation of nature
but by virtue of man's subjection to it. The "fall" in tragedy ends in
death; the fall in comedy ends in bed, where, by natures's arithmetic,
one and one make a brand new one. — Rose A. Zimbardo

I have learned two lessons in my life: first, there are no sufficient literary, psychological, or historical answers to human tragedy, only moral ones. Second, just as despair can come to one another only from other human beings, hope, too, can be given to one only by other human beings. — Elie Wiesel

Few poets better convey the uneasy transition from Victorianism to Modernism than Thomas Hardy. His novels, written between 1870 and 1895, made him not only the recorder of his distinctive region of 'Wessex', but the explorer of the transition of lives and minds from the age of traditional values and religious certainties to the age of godlessness and modern tragedy, a transition sometimes described as 'the clash of the modern'. — Ronald Carter

And when a futurist dies, the tragedy is that we lose access to all the possible futures they imagined for us. Our only connection, afterward, is through the arcane procedure like literary interpretation, like reading the flight of birds or throwing the I Ching, as Ballard must have as a child in Shanghai. Like it or not, we live in one of Ballard's futures; a little apocalyptic, bent by technology. — William Ball

For a while, Criticism travels side by side with the Work, then Criticism vanishes and it's the Readers who keep pace. The journey may be long or short. Then the Readers die one by one and the Work continues on alone, although a new Criticism and new Readers gradually fall into step with it along its path. Then Criticism dies again and the Readers die again and the Work passes over a trail of bones on its journey toward solitude. To come near the work, to sail in her wake, is a sign of certain death, but new Criticism and new Readers approach her tirelessly and relentlessly and are devoured by time and speed. Finally the Work journeys irremediably alone in the Great Vastness. And one day the Work dies, as all things must die and come to an end: the Sun and the Earth and the Solar System and the Galaxy and the farthest reaches of man's memory. Everything that begins as comedy ends in tragedy. — Roberto Bolano

I was an utterance in absentia. I was a forgotten word, uttered and mislaid long ago. I was the word that existed because there was another word that was my opposite, and without it I was nothing. I gained meaning only by acknowledging that possible other.
Nida — Faiqa Mansab

To deprive the derelicts of hope is right, and to sustain them in their illusory "pipe dreams" is right also. — Harold Bloom

I find literary fiction about the Holocaust or any other major world tragedy to be distasteful - nonfiction only, please. — Gabrielle Zevin

Once upon a time Karen saw somebody nobody else could see. She thought to ask an old man: who were you? Once upon a time I thought to dream of medicine. Now I dream of medicine by the sea. — Nicholaus Patnaude

It is not often that I have two options to choose from. It is nice to be compelled towards something, otherwise one drifts through life unimpeded.
Bhanggi — Faiqa Mansab

Tragedy is a literary concept. — David Hockney

Our relationship with literary characters, at least to those that exercise a certain attraction over us, rests in fact on a denial. We know perfectly well, on a conscious level, that these characters "do not exist," or in any case do not exist in the same way as do the inhabitants of the real world. But things manifest in an entirely different way on the unconscious level, which is interested not in the ontological differences between worlds but in the effect they produce on the psyche.
Every psychoanalyst knows how deeply a subject can be influenced, and even shaped, sometimes to the point of tragedy, by a fictional character and the sense of identification it gives rise to. This remark must first of all be understood as a reminder that we ourselves are usually fictional characters for other people [ ... ] — Pierre Bayard

Characters may lend the action a certain colouring, but it is what happens that comes first. To overlook this while watching a tragedy would be like treating a football game simply as the acts of a set of solitary individuals, or as chance for each of them to display 'personality'. The fact that some players behave as though this is precisely what football games are about should not distract us from this point. — Terry Eagleton

What cannot be borne in reality, becomes a source of pleasure when it is transposed into the visual and somatic fiction of the dramatic spectacle. — Claude Calame

Modern discussions of the possibility of tragedy are not exercises in literary analysis; they are exercises in cultural diagnostics, more or less disguised. — Susan Sontag

Patricia Smith is one of the best poets around and has been for a long time. Her Blood Dazzler is full of capacious soul and formal inventiveness: the compassion and artfulness necessary to capture the tragedies and Tragedy of Katrina. Smith is herself a storm of beautiful, frightening talent. Her words will wash you or wash you away. I consider this new book a major literary event. — Terrance Hayes

In serious Victorian fiction, as in Shakespearian tragedy, melodrama normally functions as metaphor. The author finds a vivid equivalent for a reality too elaborate or too extended to be briefly depicted. — Ian Gregor

He [Aristotle] pointed out that people who had become initiates in the various mystery religions were not required to learn any facts 'but to experience certain emotions and to be put in a certain disposition.' Hence his famous literary theory that tragedy effected a purification (katharsis) of the emotions of terror and pity that amounted to an experience of rebirth. — Karen Armstrong

In his Preface to the 1892 edition of Tess of the d'Urbervilles Hardy warns the reader that 'a novel is an impression, not an argument'. However, the text offers several explanations of Tess's tragedy; social, psychological, hereditary, and fatalistic, all of which proceed from the assumption that Hardy's text is in some sense determined, and that the character of Tess is somehow knowable. Indeed, the tragedy of Tess is in this sense overdetermined. But it should be remembered that the character of Tess is constructed in the text from many points of observation, including that of the ambivalent narrator; constructed that is from impressions. — Geoffrey Harvey