Although at first glance Seinfeld appears to be a comedy of manners à la Jane Austen, we quickly realize we are more in the realm of tragedy than comedy. As soon as the eponymous central character delivers his opening monologue in the manner of a Greek chorus, we are led to consider Aristotle's description of τραγῳδία and to what extent it informs the elements of the drama. We wonder: which of the dramatis personae most embodies the prototype of tragic hero? Many critics agree that the flawed and hubristic George Costanza most qualifies for the role. But here the model breaks down. There is less here of Aristotle, more of Kafka, of Pirandello, of Sartre; it soon becomes apparent that these characters are doomed to navigate a landscape of postmodern despair, searching for a moment of awareness, of revelation, of catharsis, that neither they nor the viewer will ever find.
|
Linear Mode
