Twentieth century critics have definite ideas about tragedy. They maintain that in a true tragedy, fate must feel the resistance of the tragic hero's moral freedom before finally crushing him, thus generating our ambivalent sense of terrible waste coupled with spiritual consolation. Yet far from
being a timeless truth, this account of tragedy only emerged in the wake of the French Revolution.
What Was Tragedy? demonstrates that this account of the tragic, which has been hegemonic from the early nineteenth century to the present despite all the twists and turns of critical fashion
in the twentieth century, obscured an earlier poetics of tragedy that evolved from 1515 to 1795. By reconstructing that poetics, Blair Hoxby makes sense of plays that are "merely pathetic, not truly tragic," of operas with happy endings, of Christian tragedies, and of other plays that advertised
themselves as tragedies to early modern audiences and yet have subsequently been denied the palm of tragedy by critics. In doing so, Hoxby not only illuminates masterpieces by Shakespeare, Calderón, Corneille, Racine, Milton, and Mozart, he also revivifies a vast repertoire of tragic drama and opera
that has been relegated to obscurity by critical developments since 1800. He suggests how many of these plays might be reclaimed as living works of theater. And by reconstructing a lost conception of tragedy both ancient and modern, he illuminates the hidden assumptions and peculiar blind-spots of
the idealist critical tradition that runs from Schelling, Schlegel, and Hegel, through Wagner, Nietzsche, and Freud, up to modern post-structuralism.
The Philosophy of the Tragic and the Poetics of Tragedy
1. Our Tragic Culture
2. An Early Modern Poetics of Tragedy
The World We Have Lost
3. Simple Pathetic Tragedy
4. Operatic Discoveries
5. Counter-Reformation Tragedy
6. History as Tragedy, Tragedy as
Design
Bibliography
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Blair Hoxby is Professor of English at Stanford University. After graduating with an A. B. from Harvard University, he studied at Oxford University as a Rhodes Scholar. He then earned his Ph.D. from Yale University. Before arriving at Stanford, he was an Associate Professor of English at Yale
and an Associate Professor of History and Literature at Harvard. He is the author of Mammon's Music: Literature and Economics in the Age of Milton and the co-editor of Milton in the Long Restoration. He is writing a book on baroque theater and editing essay collections on tragedy in the
Trans-Atlantic Enlightenment, on tragedy during the European Enlightenment, and on opera and tragedy from the seventeenth to the eighteenth centuries.
Making Sense - Margot Northey and Joan McKibbin
The Invention of Suspicion - Lorna Hutson
