This thesis is in two parts. The introduction begins with an examination of the myths of Rhesus and Dolon which are independent of Iliad 10. It concludes that the author knew of these and adapted parts of them. The section on authenticity summarises those features of Rh. which have been regarded by scholars as incompatible with Euripidean authorship, as well as some evidence which has previously been ignored. It concludes that a combination of unusual features in Rh. point away from the play being an early work of E. In particular, these are: a limited use of colloquialism; the absence of περi and the scarcity of απo the lameness of many of the repetitions; intertextual allusions to other tragic texts; enjambement between strophe and antistrophe at 350-351; the presence of two sets of separated strophes and antistrophes; the delivery of a lyric monody by the deus ex machina; a preference for shorter periods in anapaests than E.; the absence of a dramatic exposition; the unannounced symmetrical entries at 264; physical contact between actor and chorus at 681; the appearance of two dei ex machina; the realistic role of the chorus and the absence of any intellectual or emotional dimension. I believe that Rh. was written after the death of E. , but have found no evidence to suggest who wrote it. The introduction concludes with a brief survey of the textual sources. The commentary is based on J. Diggle's text (1994), although some other readings or conjectures have been preferred. New conjectures have been introduced at 4-5 and 247. It is the first commentary written on lines 1-526 since that of W.H. Porter (1929₂) and follows the standard format except that the lyric schemata are examined in the introduction. The anapaestic opening is defended and a αττ. λεγ is reported for the first time at 353.

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In so far as I have been able to determine, nothing by way of general criticism or comment has previously been written on the subject of Greek plots in twentieth century tragedy, although individual writers have themselves admitted a certain indebtedness to their sources, and comments regarding the specific plays which I have cited, of course, mention a Greek origin. As regards the whole field of contemporary drama, however, I believe that no treaties earlier than this one has discussed the prevalence of Greek plots among twentieth century dramas.

During the height of the English Renaissance, the revenge tragedies The Spanish Tragedy and Hamlet were introduced to the English literary canon. In this essay, I will focus on the similarities that the protagonists, Hamlet and Hieronimo, share as prototypical avengers. Although Hamlet’s contribution to the genre should not be discredited, I will argue that the similar characterisation of Hieronimo in The Spanish Tragedy, portrays the same depth and entitlement to the acclaim as a prototypical avenger as Hamlet. Even though their portrayal may differ in tone, their shared commonality attributes equal complexity to both characters. I will compare and analyse the two plays in order to demonstrate that both characters should be considered prototypical avengers. The essay concludes that a reluctance to revenge and a tendency to contemplate the morality of the action is prominently shared by both prototypical avengers. Although critics generally infer Hieronimo is a less complex character in comparison with Hamlet, this essay will show how both avengers deserve equal credit. This essay illustrates this statement by juxtaposing their equal need to find justification before taking revenge, use of suicide to emphasise their moral dilemma, and comment on the tragic consequences of revenge.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1937. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 385-392).

This thesis discusses six plays by the playwright Eugene O'Neill considered as tragedies.

The aim of this study is to show what was Rotrou's conception of the tragic, which is concomitantly to point out in what ways it differed from the conception of tragedy held by his precursors, such as Hardy, and his contemporaries.

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I have examined Waugh’s Brideshead Revisited by reading it as a tragedy and looking at the motif of the tragic fall of the Marchmain family as a response to the challenges of modernity. Most academic works on Brideshead Revisited are religious readings that focus on the role of Catholicism in the narrative. I argue that the novel portrays modernity and as such, calls for the necessity of being able to change with the times. Approaching the narrative as a tragedy highlights this interpretation and allows for an exploration of the characters’ attitudes to modernity through their tragic fall. I have investigated the role and implications of tragedy in modern secular times and applied it to Brideshead Revisited, focusing on the Aristotelian theory of tragedy and employing Schopenhauer’s and Nietzsche’s understanding of tragic action to explain the effect of the tragic fall on the spectator or reader. The Marchmains can be seen as Aristotelian tragic heroes that experience a fall due to their mistaken views that are founded on tradition and thus distance them from the modern world. The fall of the Marchmains and the looming disintegration of their social stratum are indicative of broader social change in interwar. For Charles Ryder, the narrator of Brideshead Revisited, the Marchmains’ tragic fall serves as a tool that allows him to see life from a different perspective and reconcile nostalgia and modernity. Brideshead Revisited is therefore not only a Catholic novel, but also a detailed image of interwar England, the shifts in its social structure, and the importance of accepting change.