Eight Great Tragedies: Prometheus Bound, Oedipus the King, Hippolytus, King Lear, Ghosts, Miss Julie, on Bailles Strand, Desire Under the Elms.

by Sylvan Barnet, Morton Berman, William Burto (Editor)

Vintage paperback

Genres: Classics, Fiction, Drama, Plays, Tragedy, Anthologies, Literature

448 pages, Paperback

First published January 1, 1957

About the author

Sylvan Barnet is an American literary critic and Shakespearean scholar. He is a Fletcher Professor of English Emeritus at Tufts University.

Barnet is the author of numerous books and articles on Shakespeare. He is the general editor of the Signet Classics Shakespeare,[1] the author of A Short Guide to Shakespeare,[2] and has written many textbooks. He is the co-author with William Burto of occasional essays on aspects of Japanese art.[3] He has also written books about the art of writing.

Reviews

[Ṣafā · Rating 5 out of 5]

“For the great ages, tragedy is not an expression of despair but the means by which they saved themselves from it. It is a profession of faith...a way of looking at life by virtue of which it is robbed of its pain.”

Eight Great Tragedies is a very honest and painstaking exploratory effort into the heart of tragedy. It provides a very in-depth insight into tragedy as we have known it, giving a very comprehensive inside look at the phenomenon of tragedy and is a remarkable addition to English literature.

After a general introduction, the book is divided into two parts, the greater Part One: The Tragedies and the shorter but not in any way lesser in stature, Part Two: The Essays. 

The General Introduction offers profound insight into and explores the coming into being, growth, and evolution of tragedy. It is a remarkable piece of literature and I couldn't help but hang on to every word making my own notes and loving every bit of it.

Every play is introduced first to us by a kind of précis and discussion which offers a deep understanding and an exploration into the psychology of the play beforehand which is then followed by a short biographical note of the author of the play so the reader is more than ready to dive head first into the drama.

The eight plays explore the history of tragic drama from the early Greeks to the Elizabethans and finally to the naturalists and the realists. The essays are a compilation from the outstanding philosophers and critics from Aristotle to Joseph Wood Krutch which offer a very unique and enlightening opinion of tragedy. The bibliography is also very helpful and brings to light the untiring efforts of the editors.

One problem with an anthology, all that great pieces of art all together, it gets a bit overwhelming at times and you cannot focus your attentions on each one the same and remember them individually though it's a great way to get through many pieces at once.

Part One: The Tragedies

Aeschylus: I enjoyed Prometheus bound because of the out-of-the-world themes, the warring Greek gods and goddesses, the Greek mythology, the very appealing chorus, the setting of the stage, and the statuesque portrayal of Prometheus. Prometheus is the very embodiment of the tragic hero as he has brought it on himself and refuses to bow down. The melodramatic ending has a lasting impact on your memory.

“As the last lines are uttered, the colossal figure of the FORETHINKER, with its cliff, topples into the abyss.” 

Sophocles: I have read the Oedipus Rex trilogy before and I'm a big fan. It's actually one of the reasons tragedy is my favorite kind of drama. The most perfect thing about Oedipus the King on which I was able to put my finger on, after reading this volume incidentally, was that Oedipus does not intentionally or knowingly ruin himself (so much for Oedipal complex), he is drawn to his fate like a moth to a flame, and as stated in the drama, the gods are to blame.

Euripides: The things I liked about Hippolytus was the purity of character and the honor code Hippolytus had, that he didn't betray his step-mother to his father and he was rewarded in the end by his father finally coming to his aid and absolving him of all blame, the revenge the goddess Aphrodite incurred upon Hippolytus for his insolence and imprudence, and the coming of his beloved and revered goddess Artemis to console him in his last moment and saying he was her most beloved too. What I couldn't comprehend was that after sacrificing her health and her life to uphold her and her husband's honor, Phaedra would wrongly and unjustly accuse Hippolytus of having designs on her.

Shakespeare: King Lear was rich in history, language, and wit as ever. The King is separated from his beloved daughter by the cruel turn of fate, her inability to express and his unsound judgment of her love for him, and left with his ungrateful daughters who bring nothing but shame and death upon him and themselves. King Lear is united with his sweet child only to be separated shortly by the merciless blow of death. Gloucester is another character which by his suffering and loyalty makes himself distinguished in the play and brings the play together. The characters of Kent and Edgar were endearing.

Ibsen: Ghosts is a realistic investigation into the meaning of morality in a conservative society. Runaway wives, abandoned sons, depraved fathers, venereal diseases, euthanasia are the main themes with which Ibsen deals in his modern play. An argument against this play is the talk of an incestuous marriage but really, it rather it eliminates such a happening by talking about it and thus preventing it. What disturbs me, though, is euthanasia, human life is sacred and should run its natural course. Although lacking in scientific accuracy, the play succeeds in resolving the issues concerned in almost an idealistic way.

Strindberg: Truth be told, I was appalled by the state of affairs in Miss Julie, and asked myself the questions; what is more important, the truth or the appearance of things, what is right or what seems right?. Maybe it's the girl living in today's modern world talking but it was horrifying to see what lengths are people willing to go to to make themselves acceptable in society. Having said that, it was an interesting experience to see the world through Strindberg's late 19th century eyes, the play was beautifully written, gave a deep insight into the mind and life of a plebeian and those of the aristocracy as well and was probably realistic of those times.

Yeats: On Baile's Strand was a captivating insight into Irish tradition. The backdrop of the scum of society against kings of Ireland was a very clever, satirical and amusing manoeuvre. The ending of the play was more than just to the helplessness of a strong man against his own cruel fate. The ending was pure genius, I loved it!

O'Neil: Desire Under the Elms was beautifully written, had a rich backstory, the characters were full of the joy of life, everything had a life of its own and was in quite some things realistic. The scenic surroundings lent substance to the play and the use of vernacular familiarized with the lower class. I was appalled, but that's just good writing. O'Neil's expertise and reach are undeniable but I think it was darker than need be. The characters are shameless and guiltless in lust and unworried about consequences, they give in to their desire without so much as a second thought. Incompatible marriage is the main reason in my opinion. I do believe that in the lower classes these kinds of things happen but are the people so blameless as that. I love O'Neill's writing, he's one of my favorite dramatists but this was too dark for me to really enjoy. The characters did get their redemption, but I would have thought of their suffering, thinking and feeling guilty much more for the havoc they have wrought. The worst thing about the play was infanticide which happened as the result of a misunderstanding. It was horrific, more so by the picturesque surroundings. It was about how low humanity can stoop before it can rise up again to redeem itself.

Lastly, the essays are a wonderful bonus, equipping you with knowledge about what to expect, what to look in for and how to write great tragedies.

Being a realist as well as an idealist, I enjoy the subtle nuances tragedy offers. It appeals to my senses in a way no comedy or romance can. After reading this book I have a sound understanding of tragedy, which I really wanted and needed and I don't think I have ever enjoyed an introduction more than I have enjoyed in this book.

This book strives to explain that tragedy is not a mere tear-inducing sad depressing phenomenon but an expression of humanity and reality.

Though I had a little trouble getting into the book but I read good books and this was one of those efforts. It's always gratifying to push yourself into something better and new, get the better of it and come out having conquered it. That is what reading is for me, a process of evolution, always striving for the better, pushing yourself, widening your circle of interest and I'm not happy if I'm not changing and learning something new.

All my high-end drama, essays explaining tragedy, cravings were sated by this. If you enjoy high-class tragedy/drama you're going to love this book. 

[Ashley Adams · Rating 5 out of 5]

An outstanding collection ranging from the Greeks to the Modernists.

[Nancy · Rating 4 out of 5]

If you want an overview of tragedy in several styles then this is the book to seek out and find. Tragedy can be so many things. It has so many shades, styles, causes. So many symptoms and so many end results. From ancient Greeks to O'Neill, tragedy has many shapes and sizes. This is a well picked overview of some classics of the genre. One things with this book. Do read the introductions to each piece! It will give you an insight you might miss otherwise. It also can unlock your view to see things other than the introductions view. Tragedy is a far more complex tapestry than comedy. Comedy can be seen on the surface but tragedy often has hidden threads to the weave you may not even notice the first time you read them. And other threads do not appear in a script until you see it performed. I saw things in the performance I saw on DVD of "King Lear" (with Ian McKellan in the title role) that I missed in the written word. As someone who has acted and trained in it I do understand that an actor has to make a unified whole person out of all of the words that come out of the characters mouth. Some things in Lear are not known until near the end and you see that one prince is not as heartless as he seemed. Reading it you do not see that until the end and it seems disjointed but in seeing it, you can see how the actor shows that his character is not truly on board with all of these machinations of his wife's. You cannot see that in a script. You have to see that with a performer. That being said, I did try to find DVD's of performances of these plays. It did make a difference in seeing the richness of these selected tragedies. I think none more so than Lear.

[Brian · Rating 3 out of 5]

It took me an entire year to not even finish this anthology. I loved Prometheus Bound, but I quickly lost steam after that. I’ve always had problems with how Oedipus the King is told, and already not being much of a drama reader, I didn’t get far beyond that point. I may try again in a few years.

[Becca]

I didn't finished, Dropped

[Dan · Rating 3 out of 5]

Works of tragic drama from several periods in history: the Classical, the Renaissance, the Romantic and the Modern. While few would challenge the inclusion of plays like Oedipus The King or King Lear, one interesting choice here is Yeats’s On Baile’s Strand ((Cuchulain)) / کوهولین—one does not frequently see the play in anthologies of this sort. Reading the plays in chronological order, one can trace the development of tragedy from its religious beginnings through its humanist emphasis in the Renaissance, and to the return to myth in Yeats.

Acquired 1982
Coles Books, Fredericton, New Brunswick

[Ryan · Rating 3 out of 5]

Prometheus Bound (Aeschylus), Oedipus the King (Sophocles),
Hippolytus (Euripides), King Lear (William Shakespeare), Ghosts (Henrik Ibsen), Miss Julie (August Strindberg), On Baile's Strand (William Butler Yeats), Desire Under The Elms (Eugene O'Neill).

If you like tragedy a lot, you'll love this. My favorite was 'Diesire' by O'Neill and 'Ghosts' by Ibsen. Lots and lots of incest in this collection, but I guess maybe that would be what makes it so tragic.

[Angela · Rating 3 out of 5]

Prometheus Bound -- Aeschylus
Oedipus The King -- Sophocles
Hippolytus -- Euripedes
King Lear -- William Shakespeare (read in May 2009)
Ghosts -- Henrik Ibsen
Miss Julie -- August Strindberg
On Baile's Strand -- William Butler Yeats
Desire Under The Elms -- Eugene O'Neill

[AF]

I have the 1985 Edition. Good stuff.