There are two theories that have been used to explain ancient and mode

There are two theories that have been used to
⠀⠀⠀ explain ancient and modern tragedy. Neither quite
⠀⠀⠀ explains the complexity of the tragic process or the
⠀⠀⠀ tragic hero, but each explains important elements
(5) of tragedy, and, because their conclusions are
⠀⠀⠀ contradictory, they represent extreme views. The first
⠀⠀⠀ theory states that all tragedy exhibits the workings
⠀⠀⠀ of external fate. Of course, the overwhelming
⠀⠀⠀ majority of tragedies do leave us with a sense of the
(10) supremacy of impersonal power and of the limitation
⠀⠀⠀ of human effort. But this theory of tragedy is an
⠀⠀⠀ oversimplification, primarily because it confuses
⠀⠀⠀ the tragic condition with the tragic process: the
⠀⠀⠀ theory does not acknowledge that fate, in a tragedy,
(15) normally becomes external to the hero only after
⠀⠀⠀ the tragic process has been set in motion. Fate, as
⠀⠀⠀ conceived in ancient Greek tragedy, is the internal
⠀⠀⠀ balancing condition of life. It appears as external
⠀⠀⠀ only after it has been violated, just as justice is an
(20) internal quality of an honest person, but the external
⠀⠀⠀ antagonist of the criminal. Secondarily, this theory
⠀⠀⠀ of tragedy does not distinguish tragedy from irony.
⠀⠀⠀ Irony does not need an exceptional central figure:
⠀⠀⠀ as a rule, the more ignoble the hero the sharper the
(25) irony, when irony alone is the objective. It is heroism
⠀⠀⠀ that creates the splendor and exhilaration that is
⠀⠀⠀ unique to tragedy. The tragic hero normally has an
⠀⠀⠀ extraordinary, often a nearly divine, destiny almost
⠀⠀⠀ within grasp, and the glory of that original destiny
(30) never quite fades out of the tragedy.
⠀⠀⠀⠀⠀⠀⠀⠀The second theory of tragedy states that the
⠀⠀⠀ act that sets the tragic process in motion must be
⠀⠀⠀ primarily a violation of moral law, whether human
⠀⠀⠀ or divine; in short, that the tragic hero must have a
(35) flaw that has an essential connection with sin. Again
⠀⠀⠀ it is true that the great majority of tragic heroes do
⠀⠀⠀ possess hubris, or a proud and passionate mind
⠀⠀⠀ that seems to make the hero's downfall morally
⠀⠀⠀ explicable. But such hubris is only the precipitating
(40) agent of catastrophe, just as in comedy the cause
⠀⠀⠀ of the happy ending is usually some act of humility,
⠀⠀⠀ often performed by a noble character who is meanly
⠀⠀⠀ disguised.

1. The primary purpose of the passage is to

A. compare and criticize two theories of tragedy
B. develop a new theory of tragedy
C. summarize the thematic content of tragedy
D. reject one theory of tragedy and offer another theory in its place
E. distinguish between tragedy and irony

RC79461.01-10



2. The author states that the theories discussed in the passage “represent extreme views” (see line 6) because their conclusions are

A. unpopular
B. complex
C. paradoxical
D. contradictory
E. imaginative

RC79461.01-20



3. The author objects to the theory that all tragedy exhibits the workings of external fate primarily because

A. fate in tragedies is not as important a cause of action as is the violation of a moral law
B. fate in tragedies does not appear to be something that is external to the tragic hero until after the tragic process has begun
C. the theory is based solely on an understanding of ancient Greek tragedy
D. the theory does not seem to be a plausible explanation of tragedy's ability to exhilarate an audience
E. the theory does not seem applicable to the large number of tragedies in which the hero overcomes fate

RC79461.01-30



4. Which of the following comparisons of the tragic with the ironic hero is best supported by information contained in the passage?

A. A tragic hero's fate is an external condition, but an ironic hero's fate is an internal one.
B. A tragic hero must be controlled by fate, but an ironic hero cannot be.
C. A tragic hero's moral flaw surprises the audience, but an ironic hero's sin does not.
D. A tragic hero and an ironic hero cannot both be virtuous figures in the same tragedy.
E. A tragic hero is usually extraordinary, but an ironic hero may be cowardly or even villainous.

RC79461.01-40



5. The author contrasts an honest person and a criminal (see lines 19–21) primarily to

A. prove that fate cannot be external to the tragic hero
B. establish a criterion that allows a distinction to be made between irony and tragedy
C. develop the distinction between the tragic condition and the tragic process
D. introduce the concept of sin as the cause of tragic action
E. argue that the theme of omnipotent external fate is shared by comedy and tragedy

RC79461.01-50



6. The author suggests that the tragic hero's “original destiny never quite fades out of the tragedy” (see lines 29–30) primarily to

A. qualify the assertion that the theory of tragedy as a display of external fate is inconsistent
B. introduce the discussion of the theory that tragedy is the consequence of individual sin
C. refute the theory that the tragic process is more important than the tragic condition
D. support the claim that heroism creates the splendor and exhilaration of tragedy
E. distinguish between fate as conceived in ancient Greek tragedy and fate in more recent tragedy

RC79461.01-60



7. In the author's opinion, an act of humility in comedy is most analogous to

A. a catastrophe in tragedy
B. an ironic action in tragedy
C. a tragic hero's pride and passion
D. a tragic hero's aversion to sin
E. a tragic hero's pursuit of an unusual destiny

RC79461.01-70