Introduction: “Tragedy And Liberalism” By Terry Eagleton
“Tragedy and Liberalism” by Terry Eagleton, first published in 2018 in the Modern Theology journal, holds significant importance in literature and literary theory due to Eagleton’s exploration of the complex relationship between tragedy and liberalism. Eagleton challenges the traditional understanding of tragedy as a purely aesthetic or individualistic experience, arguing instead that it is deeply intertwined with social and political structures. By examining the tension between the tragic impulse and liberal values, Eagleton offers a provocative and insightful analysis of the enduring power of tragedy in contemporary culture.
Summary of “Tragedy And Liberalism” By Terry Eagleton
- Critique of Tragedy Theorists’ Approach to Suffering
Eagleton criticizes the historical treatment of suffering in tragedy, noting how figures like Aristotle and medieval theorists downplay the emotional depth of suffering. He argues that Idealist thinkers such as Nietzsche romanticize tragedy by focusing on notions like “victorious defeat,” where suffering is viewed as a necessary condition for art and heroism. He dismisses this as a form of “cut-price theodicy” that glorifies suffering without fully addressing its emotional or ethical weight.- “One gathers the impression that nothing is more spiritually stimulating or therapeutic than breakdown and loss.”
- Williams’ Rejection of Tragic Theodicy
Eagleton praises Rowan Williams for rejecting the idea that tragedy is meant to offer spiritual consolation or justification. Instead, Williams views tragedy as an event beyond rational explanation, emphasizing the complexity and ambiguity of human suffering. Eagleton agrees that the assumption that enduring the worst implies hope is questionable, pointing to the potential for even greater future suffering.- “Tragedy is ‘neither a formless lament nor an emotionally sanitized fiction.’”
- The Role of Language in Tragedy
Eagleton examines the dual nature of language in tragedy. On one hand, human expression may offer a form of solace in suffering, as suggested by Edgar’s lines in King Lear. On the other hand, these same lines imply that language may not always alleviate suffering and may, instead, hint at the possibility of even greater despair.- “Language by means of sounds, or better still words… is a vast liberation because it means that the sufferer is beginning to produce something.”
- Tragedy, Politics, and Liberalism
Eagleton contrasts Williams’ liberal politics with his own view that not all forms of “otherness” should be accepted or accommodated. He argues that Williams’ liberalism overlooks the necessity of radical political change in some cases, such as the overthrow of apartheid or oppressive regimes. Williams’ view of tragedy as a “ceremony of shared pain” is criticized for not fully engaging with the need for political action and resistance.- “There are times when entire social orders must be overthrown and refashioned.”
- Empathy and the Limits of Tragic Understanding
Eagleton warns against excessive empathy within tragedy, particularly toward individuals whose actions are morally indefensible, such as neo-Nazis or CIA torturers. He disputes the idea that tragedy is fundamentally about recognizing and empathizing with all forms of otherness, arguing that not all viewpoints are worthy of respect or accommodation.- “Tragedy cannot be reduced to a matter of recognizing the rights of others.”
- Theological Insights into Tragedy
Eagleton highlights Williams’ theological perspective on the limits of tragic understanding. Williams acknowledges that some forms of suffering, especially extreme physical pain, are inherently meaningless and cannot be redeemed through empathy or moral understanding. Eagleton connects this to the concept of the “demonic” in tragedy, which resists redemption and denies the very notion of meaning or value.- “Severe physical pain… are manifestations of utter meaninglessness, and that this meaninglessness is part of what we mean by the demonic.”
Literary Terms/Concepts in “Tragedy And Liberalism” By Terry Eagleton
| Literary Term/Concept | Explanation | Context in “Tragedy and Liberalism” |
| Tragedy | A dramatic genre involving human suffering, often leading to the protagonist’s downfall, intended to evoke catharsis or insight in the audience. | Eagleton critiques how tragedy theorists, such as Idealist philosophers, romanticize suffering, turning it into a triumphalist narrative of “victorious defeat.” |
| Theodicy | An attempt to justify the existence of suffering and evil in the world, often by suggesting it serves a higher purpose. | Eagleton dismisses “cut-price theodicy” in tragedy, which justifies suffering as spiritually enriching or redemptive without addressing its real emotional impact. |
| Catharsis | A term from Aristotle’s theory of tragedy, referring to the emotional release or purification that the audience experiences after witnessing a tragedy. | Eagleton suggests that traditional theories of tragedy prioritize catharsis but fail to engage deeply with the reality of suffering. |
| Dionysian vs. Apollonian | Nietzschean concepts: the Dionysian represents chaos, emotion, and suffering, while the Apollonian represents order, beauty, and reason. | Eagleton discusses Nietzsche’s idea that art sublimates suffering through the Apollonian, but critiques the glorification of the suffering itself. |
| Romanticism | A movement emphasizing emotion, individualism, and the sublime, often viewing suffering as a path to personal growth or artistic expression. | Eagleton criticizes how Idealist thinkers from the Romantic tradition, such as Nietzsche, romanticize suffering in tragedy as a necessary component for artistic greatness. |
| Empathy | The capacity to understand or feel what another person is experiencing, often regarded as a morally virtuous response. | Eagleton challenges Williams’ view that tragedy should invoke empathy for all forms of “otherness,” warning against empathizing with morally reprehensible figures. |
| Otherness | The concept of viewing individuals or groups as fundamentally different or alien, often used in discussions of cultural, social, or moral diversity. | Eagleton critiques the liberal tendency to always accommodate “otherness” in tragedy, arguing that some forms of otherness, like moral evil, should be resisted. |
| Agnosticism (in Tragedy) | The idea of acknowledging uncertainty and the limits of human knowledge, especially regarding future suffering and the nature of tragedy. | Williams emphasizes the “tragic provisionality” of acknowledging our ignorance about what horrors the future may bring, which Eagleton finds valuable. |
| The Demonic | A force or figure representing chaos, meaninglessness, or malevolence, often beyond redemption. | Eagleton uses this term to describe extreme forms of suffering in tragedy that cannot be redeemed, likening it to Iago’s nihilistic destruction in Othello. |
| Liberalism | A political and philosophical ideology emphasizing individual rights, equality, and the accommodation of different viewpoints. | Eagleton critiques Williams’ liberalism in the context of tragedy, arguing that it fails to acknowledge when radical change or resistance is necessary to combat moral evil. |
| Nihilism | The belief that life lacks meaning, purpose, or intrinsic value, often associated with cynicism or moral indifference. | Eagleton contrasts the redemptive potential of tragedy with nihilism, arguing that some forms of evil and suffering are beyond redemption and embody a nihilistic worldview. |
| Romantic Theories of Tragedy | Theories of tragedy that emphasize individual heroism, the sublimation of suffering into art, and the transformation of pain into personal greatness. | Eagleton critiques Romantic theories of tragedy for transforming suffering into a narrative of personal transcendence, particularly in figures like the Nietzschean Übermensch. |
| Hegelian Dialectic | The philosophical concept that history progresses through the conflict of opposites, often applied to tragedy as the clash of equally justified but opposing forces. | Eagleton critiques Williams’ endorsement of Hegel’s view that tragedy is the result of equally valid but conflicting positions, arguing that some tragic conflicts are more morally weighted. |
Contribution of “Tragedy And Liberalism” By Terry Eagleton to Literary Theory/Theories
- Critique of Idealist Theories of Tragedy
Eagleton challenges traditional Idealist approaches to tragedy, particularly those of Nietzsche and other German theorists, for glorifying suffering as a necessary pathway to artistic and heroic achievement. He argues that these theories reduce tragedy to a form of “cut-price theodicy,” justifying suffering in ways that overlook its real, emotional weight.
“A good deal of such Idealist theorizing is little more than cut-price theodicy.”
- Rejection of Tragedy as Consolation or Redemption
Eagleton, through his reading of Rowan Williams, asserts that tragedy should not be viewed as offering spiritual consolation, redemption, or reconciliation. Instead, he highlights that some tragedies, particularly those involving severe suffering, cannot be rationalized or explained away, contributing to a more realistic and ethically sensitive understanding of the tragic genre.
“Tragic art in his view is not in the first place about consolation or reconciliation, let alone explanation or justification.”
- Language and the Limits of Expression in Tragedy
Eagleton adds to literary theory by exploring the role of language in tragedy. He emphasizes that while language can give form to suffering, it can also fail to alleviate or even express the full depth of tragic experiences. This contribution critiques the Romantic ideal that language and art can always transmute suffering into something meaningful.
“Yet pain also marks the limit of the articulable and intelligible.”
- Political Dimension of Tragedy
Eagleton introduces a political critique into the discussion of tragedy, contrasting liberalism’s tendency to accommodate all forms of “otherness” with the need for decisive political action in the face of moral evils. This contribution expands the scope of literary theory by framing tragedy within the context of social and political change, urging a reevaluation of tragedy’s relevance to real-world injustices.
“There are times when entire social orders must be overthrown and refashioned.”
- Challenging Hegelian Dialectics in Tragic Theory
Eagleton critiques the Hegelian notion that tragedy arises from a conflict between two equally justified positions. He argues that this dialectical framework, often applied to plays like Sophocles’ Antigone, oversimplifies tragedy by assuming all tragic conflicts involve equally valid moral positions. This offers a nuanced challenge to the application of Hegelian thought in tragic theory.
“Williams is too quick to endorse the Hegelian case that tragedy springs from the collision of two equally justified but lopsided positions.”
- Empathy and Moral Boundaries in Tragedy
Eagleton critiques the liberal emphasis on empathy within tragedy, particularly the assumption that all forms of “otherness” deserve understanding and accommodation. He introduces a moral boundary to tragic empathy, arguing that certain figures, such as neo-Nazis or torturers, should not be empathized with, thus adding a more ethically rigorous framework to the role of empathy in literary theory.
“Tragedy cannot be reduced to a matter of recognizing the rights of others.”
- Theological Insights into Tragic Meaninglessness
Through his engagement with Williams, Eagleton brings theological insights into literary theory by addressing the notion of meaninglessness in extreme suffering. He argues that some forms of agony, particularly physical pain, resist redemption and meaning, contributing to the discourse on the limits of tragedy’s moral and philosophical interpretations.
“Severe physical pain… are manifestations of utter meaninglessness, and that this meaninglessness is part of what we mean by the demonic.”
- Expanding Tragedy Beyond Aesthetic Boundaries
Eagleton challenges the traditional aesthetic boundaries of tragedy, asserting that the term should not be confined to the artistic realm alone. He argues that real-life tragedies, such as the collapse of a coalmine or a car accident, should also be recognized as tragedies, broadening the scope of what constitutes the tragic.
“Why can’t the collapse of a coalmine or a smash on the roads be seen as tragic?”
- Critique of Liberal Pluralism in Tragic Theory
Eagleton critiques Williams’ endorsement of liberal pluralism in tragedy, where all viewpoints are seen as equally valid and in conflict with each other. He argues that not all viewpoints deserve respect or recognition, particularly those that embody moral evil. This contribution challenges the trend of applying postmodern pluralism to tragic theory.
“But all viewpoints are by no means to be respected, and tragedy cannot be reduced to a matter of recognizing the rights of others.”
Examples of Critiques Through “Tragedy And Liberalism” By Terry Eagleton
| Literary Work & Author | Eagleton’s Critique | Key Quote from Eagleton |
| King Lear by William Shakespeare | Eagleton critiques the notion of finding hope in suffering through language. He explores the ambiguity in Edgar’s line, suggesting it may not represent hope but rather a warning of worse suffering to come. | “Edgar’s declaration may mean that as long as there is still the possibility of human utterance, there can always be worse to come.” |
| Macbeth by William Shakespeare | He uses Ross’s lines in Macbeth to illustrate the cold comfort that tragedy offers in recognizing that calamity has reached its limit, showing a pessimistic outlook in the tragic genre. | “Things at the worst will cease, or else climb up to what they were before.” |
| Antigone by Sophocles | Eagleton critiques the Hegelian reading of Antigone, which views the conflict between Antigone and Creon as a clash of equally justified moral positions. He argues that this simplifies the tragedy’s moral complexity. | “Williams is too quick to endorse the Hegelian case that tragedy springs from the collision of two equally justified but lopsided positions.” |
| Othello by William Shakespeare | Eagleton references the character of Iago to explain how certain forms of evil, such as Iago’s, embody the demonic and are beyond redemption or meaning. This critique contributes to his broader discussion on the limits of tragedy. | “The demonic, as with Iago confronting Othello, is affronted by the very existence of meaning and value.” |
| The Spanish Tragedy by Thomas Kyd | Eagleton critiques the assumption that all tragic conflicts involve equally valid positions. He points out that in works like The Spanish Tragedy, one side is clearly more justified than the other. | “There is an abundance of tragic drama in which… one party is largely in the right of it and the other in the wrong.” |
| The Duchess of Malfi by John Webster | Eagleton extends his critique of the Hegelian view of tragedy by using The Duchess of Malfi as an example where moral positions are not equally justified, emphasizing that not all tragic conflicts are evenly balanced. | “Antigone is not a paradigm for tragedy in general, as Hegel imagines.” |
Criticism Against “Tragedy And Liberalism” By Terry Eagleton
- Overemphasis on Political Critique
Some critics argue that Eagleton places too much emphasis on the political dimension of tragedy, particularly through his critique of liberalism. This focus can be seen as reducing the complexity of tragedy to ideological battles, rather than exploring its broader emotional or existential themes. - Narrow View of Liberalism
Eagleton’s portrayal of liberalism as overly accommodating and passive in the face of moral evil has been critiqued for being a narrow interpretation. Critics suggest that liberalism can, in fact, engage with radical change and resistance, challenging Eagleton’s claim that it fails to address the need for decisive political action. - Limited Exploration of Empathy
Eagleton’s critique of empathy, particularly his caution against empathizing with morally reprehensible figures, has been viewed by some as too restrictive. Critics argue that empathy in tragedy serves to explore the full spectrum of human experience, and limiting it could diminish the moral and emotional complexity of tragic works. - Simplification of Theological Insights
While Eagleton engages with theological insights, particularly through Rowan Williams, some critics argue that his treatment of Christian theodicy and tragedy oversimplifies the theological dimensions. Eagleton’s sharp rejection of redemptive suffering in tragedy may overlook more nuanced theological perspectives on suffering and redemption. - Reduction of Hegelian Dialectics
Eagleton’s critique of the Hegelian dialectic, especially in Antigone, has been criticized for reducing Hegel’s interpretation to a mere balancing of moral positions. Critics argue that Hegel’s philosophy of tragedy is more nuanced and does not simply equate to a clash of equally justified perspectives. - Underrepresentation of Emotional and Aesthetic Aspects
Some have critiqued Eagleton for underrepresenting the emotional and aesthetic dimensions of tragedy. By focusing heavily on political and philosophical critiques, he may neglect the emotional catharsis and aesthetic experiences that are central to the tragic genre. - Overreliance on a Marxist Lens
Eagleton’s Marxist perspective in interpreting tragedy has been seen as limiting by some critics, who argue that his political reading can sometimes overshadow the literary and artistic value of tragic works. This approach risks reducing complex literary texts to mere reflections of class struggle and social conditions.
Representative Quotations from “Tragedy And Liberalism” By Terry Eagleton with Explanation
| Quotation | Explanation |
| “A good deal of such Idealist theorizing is little more than cut-price theodicy.” | Eagleton criticizes how Idealist thinkers like Nietzsche romanticize suffering in tragedy, reducing it to a justification for higher spiritual or artistic gain, akin to theodicy. |
| “Tragic art in his view is not in the first place about consolation or reconciliation.” | Eagleton, referencing Rowan Williams, argues that tragedy should not aim to offer spiritual consolation or reconciliation, but rather reflect the raw, irredeemable nature of suffering. |
| “Language by means of sounds, or better still words… is a vast liberation because it means that the sufferer is beginning to produce something.” | Eagleton discusses how tragedy uses language as a means to give form to suffering, allowing the sufferer to transform their pain into something that can be expressed and understood. |
| “There are times when entire social orders must be overthrown and refashioned.” | Eagleton critiques liberalism for its hesitancy to acknowledge when radical political change is necessary, using this to argue that tragedy often reflects the need for such upheaval. |
| “Tragedy cannot be reduced to a matter of recognizing the rights of others.” | He critiques the liberal view that tragedy is about recognizing and empathizing with “otherness,” arguing that not all forms of otherness, particularly those tied to evil, deserve empathy. |
| “Severe physical pain… are manifestations of utter meaninglessness, and that this meaninglessness is part of what we mean by the demonic.” | Eagleton highlights the limits of tragic meaning, particularly in cases of extreme suffering, which he connects to the “demonic”—a form of nihilism that resists redemption or meaning. |
| “Williams is too quick to endorse the Hegelian case that tragedy springs from the collision of two equally justified but lopsided positions.” | Eagleton critiques Williams for adhering to the Hegelian view that tragedy emerges from two equally valid conflicting positions, arguing that not all tragedies present morally equivalent conflicts. |
| “Antigone is not a paradigm for tragedy in general, as Hegel imagines.” | Eagleton challenges the idea that Antigone is a universal example of tragic conflict, arguing that many tragedies involve a clearer moral imbalance between the conflicting parties. |
| “The demonic… is a form of nihilism or cynicism, one which revels in absurdity, wallows in the farcical and cannot be redeemed because it cannot see the point of redemption.” | Eagleton characterizes the “demonic” as a nihilistic force in tragedy that cannot be redeemed, representing the ultimate meaninglessness of some forms of suffering. |
| “The orthodox Christian belief is that faith is itself a form of certainty, though not of a scientific or empirical kind.” | Here, Eagleton engages with theological insights, arguing that faith provides certainty in a way that is distinct from scientific certainty, adding a philosophical layer to his analysis of tragedy. |
Suggested Readings: “Tragedy And Liberalism” By Terry Eagleton
- Eagleton, Terry. Sweet Violence: The Idea of the Tragic. Blackwell, 2003.
- Williams, Rowan. The Tragic Imagination. Oxford University Press, 2016.
https://global.oup.com/academic/product/the-tragic-imagination-9780198753859 - Nietzsche, Friedrich. The Birth of Tragedy. Translated by Shaun Whiteside, Penguin Classics, 1993. https://www.penguinrandomhouse.com/books/289021/the-birth-of-tragedy-by-friedrich-nietzsche/
- Aristotle. Poetics. Translated by S. H. Butcher, Oxford University Press, 1951.
http://classics.mit.edu/Aristotle/poetics.html - Hegel, G. W. F. Aesthetics: Lectures on Fine Art. Translated by T. M. Knox, Clarendon Press, 1975.
https://archive.org/details/aestheticshegel/page/n5/mode/2up - Berlin, Isaiah. Four Essays on Liberty. Oxford University Press, 1969.
https://global.oup.com/academic/product/four-essays-on-liberty-9780192810343