For the purpose of judging and examining plays, understanding genre enables clarity. In the Poetics, Aristotle (384-322 B.C.) defines tragedy as an imitation of a single, unified, action that is serious, complete, and has a certain magnitude. Tragedy deals with the fall of someone whose character is good, believable, and consistent; importantly, the fall is caused by an error or frailty (hamartia – tragic flaw) rather than a vice or depravity. Philosophies about fate, fortune, and circumstances may intersect with the misfortunes of the hero, but the ups and downs of life are related to the issue of free will (not destiny) in the settling of plot.  It is at the point of free will that revenge tragedy takes a distinct generic turn.

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The following are major ideas held by conservative writers and thinkers of Neoclassicism, e.g. Dryden, Pope, Swift, Johnson, Gay, Butler, Rochester, Gibbon, Mandeville, Burlte, Reynolds, and Smollet.

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This is the difference that marks tragedy from comedy: comedy is inclined to imitate persons below the level of our world, tragedy persons above it. . . . Comedy is, as I have said, an imitation of lower types; though it does not include the full range of badness, nevertheless to be ridiculous is a kind of deformity. The causes of laughter are errors and deformities that do not pain or injure us; the comic mask, for instance, is deformed and distorted but not painfully so. . . . The next best plot, which is said by some people to be the best, is the tragedy with a double plot like the Odyssey, ending in one way for the better people and in the opposite way for the worse. But it is the weakness of theatrical performances that gives priority to this kind, when poets write what the audience would like to happen, they are in leading strings. This is not the pleasure proper to tragedy, but rather to comedy, where the greatest enemies in the fable make friends and go off at the end, and nobody is killed by anyone. –Aristotle, The Poetics

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If you’re still troubled, think of things this way:
No one shall know our joys, save us alone,
And there’s no evil till the act is known;
It’s scandal, Madam, which makes it an offense,
And it’s no sin to sin in confidence. (Tartuffe, 4.5.116-120)

An overriding theme of Molière’s Tartuffe is not one of religion directly, but of that age-old concern of comme il faut, propriety, and appearance versus reality. The central problem that the play confronts is not with Tartuffe’s being a religious hypocrite (though, don’t we all just love those?), but with the fact that he uses his powers to manipulate others and — perhaps most importantly — the fact that his hypocrisy becomes known. Duping people is not evil; duping people to the point that it threatens their well-being may just be; duping them and having them find out definitely is.

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Allusion in Neoclassical poetry has various functions: allusion provides a contrast between the virtues of the past and the insanity of the present; allusion enriches the meaning and the texture of the poem; and allusion suggests a universality: people are not as different as they might believe being separated by time and space.

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No simple label can describe the Romantic Age, for if anything the artists of this era were individualists. Some were disillusioned by the empty promises of the French Revolution; most were disgusted with the mechanistic society they saw around them in their cities. They seemed to feel that the men before them had been too analytic, too dogmatic, too shackled to rules set up by formidable academies. Now it was time for self-expression, for a new emergence of the individual and his feelings. The following sources point to some of the directions this concern with self took.

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The heroic, sometimes known as the closed, couplet dates back to Chaucer, who uses it in the Canterbury Tales (of course it is not the same couplet; its secondary characteristics differ, and it lacks the conciseness of Pope’s couplets). The heroic couplet achieved widespread usage, however, only after the Restoration, where one finds it both in poetry and drama. In fact, its adoption in the “heroic drama” of the 1660s and 1670s gave the closed couplet its better known name: the heroic couplet. The couplet held favor through the life of Pope, who employs it almost exclusively and in whose hands it reaches its highest perfection; thereafter, it declines in popularity. Except for Byron, the Romantics scorned the couplet, as they did other aspects of neoclassicism.

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Giambattista Vico, in his imaginative search for the true Homer, uses the language of reason combined with creative speculation and inductive hypothesizing. Homer, for Vico, is a metaphor for the citizens of ancient Greece. He did not exist as a man, but as a much more powerful entity who lived in the cultural consciousness of the entire nation. Homer himself became a myth — a integral myth for the emergence of Greek polity, poetry, and philosophy.

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To understand Dryden’s poem, we must have some awareness of the religious and political context which it reflects; and to understand this, we must go backward in time. From the beginnings of Christianity, 100 CE until 1517, Christians were basically unified in their beliefs (omitting heresies here and there) and in agreement the the Roman Catholic Church represented these beliefs. When Martin Luther, in 1517, challenged the spirituality of the Catholic Church, and thus began the Protestant Reformation, he in effect split Christianity into two warring camps: Protestant and Catholic.

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