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In tragedy, man is a paradox in a paradoxical existence. Fallible and vulnerable in his mortal finity, he is yet capable of transcendent greatness. Freely exercising his will (a passive hero is pathetic rather than tragic), he is yet the plaything of destiny. Acting on his virtue, he incurs guilt. Divided within by impulses and imperatives in conflict and beset without by other willful selves and by his physical environment, he pits his naked strength against forces that inhibit him and enrage him and that he can neither control nor understand. Flawed by his human nature, he is incapable of compromise. He demands that an imperfect world conform to his notions of right and good, and he is defeated because discord, injustice, pain, and moral evil are the world’s warp and woof. The final paradox is man in his tragic vision saying, “I do not believe in the invincibility of evil but in the inevitability of defeat.” … But, in the absoluteness of his commitment, the tragic hero triumphs in the very inevitability of his defeat. Foolishly, pitifully, magnificently pressing his human potential beyond its limits, he asserts man’s significance and dignity in the face of the unanswering unknown; tragic man matters. [Otto Reinert, ed., Classic Through Modern Drama: An Introductory Anthology]