From some of our earliest literature, a style of writing has come forth that has been used throughout history, known as the tragedy. From these classical and definitive texts, including Oedipus Rex, Hamlet, and Romeo and Juliet, the literati of our society have selected certain characteristics, which we use to form a working definition of tragedy. This definition, which explains that a tragedy must include social or moral elevation of the tragic hero, a basic character flaw within this hero, and recognition by the hero of his or her failure, can be used to prove that both Tess of the D'Urbervilles and the Mayor of Casterbridge, are indeed tragic novels.
             The first of these characteristics, social or moral elevation of the tragic hero, is present in both of these novels. In Tess of the D'Urbervilles, it is Tess herself who is elevated above her peers, by her angelic looks and seemingly impeccable moral standards. By all outward appearances she is an upstanding young woman, worthy of praise. In addition, the newfound connection between the lowly farming Durbeyviles and the noble family of the D'Urbervilles, brings forth the further elevation of Tess, as she begins to realize the importance of her family name. In the Mayor of Casterbridge, Michael Henchard is elevated in much the same way. A lowly hay-trusser at the beginning of the novel, Henchard works his way up to his ultimate goal, the position of Mayor in the town of Casterbridge. Henchard's elevation is different than that of Tess, however, for Michael works his way towards this goal, whereas Tess does nothing to earn the noble title that is bestowed upon her family. Still, despite the difference in the means by which they are elevated, both novels meet this requirement, by elevating the hero and heroine to a level higher than the common citizen.
             The next characteristic, a basic character flaw, is more obvious for Michael Henchard than it is for Tess
             ...