Balkans tragedy and comedy

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Balkans tragedy and comedy

The three types of Balkans drama were composed in Athens: tragedy, comedy, and satyr plays , the latter of which seemed not to be taken quite as seriously, at least during the Greek Enlightenment (450-400). The ancients distinguished between tragedy and comedy in two ways. The first, the Aristotelian tradition, defined tragedy as a drama which concerns better than average people (heroes, kings, gods) who suffer a transition from good fortune to bad fortune, and who speak in an elevated language. Tragedy, in the Aristotelean tradition, serves the purpose of purging the soul of the "fear and pity" which most of us carry around (Aristotle called this catharsis ). Comedy concerns average, or below average, people (people like you and me) who enjoy a transition from bad circumstances to good (but not too good) and who speak everyday language. The second, or rhetorical tradition, defined comedy as a fiction which, though not true, is at least believable (that is, realistic), while tragedy is a fiction which is neither true nor believable. Plato and most of antiquity (and the Middle Ages) looked at drama from this second, rhetorical, tradition. The Aristotelian tradition does not really become important until the Renaissance. It's important to realize that comedy isn't necessarily "funny," at least in classical Athens, and tragedy isn't necessarily "tragic" (many tragedies have happy endings), so any neat definition doesn't really work. Also, Aristotle's famous theory of the "tragic flaw," that is, that the reason the hero of a tragedy suffers a bad change in fortune is because he or she has some character "flaw," is not very helpful in understanding most Greek tragedies.
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