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中西悲剧的不同
(一）主人公的不同
西方古典悲剧的主人公一般都为强者。如普罗米修斯，俄狄浦斯，马洛悲剧中的浮士德等。哈姆雷特是一位典型的西方悲剧人物，他是“朝庭人士的眼睛，学者的舌头／军人的利剑，国家的期望和花朵／风流时尚的镜子，文雅的典范／举世瞩目的中心。”另一莎剧《裘力斯?凯撒》中的凯撒也是一位顶天立地的英雄，他认为“恐吓我的东西只敢在我的背后装腔作势，它们一看见凯撒的脸，就会销声匿迹。”在西方悲剧中，这样的英雄还比比皆是，都属于这类人物。在亚里士多德看来最理想的悲剧人物应该既不是大德至善，也不是十恶不赦，而是介于两者之间，跟普通人差不多，或者比普通人更好一点。这种悲剧人物“过失”或者说是“悲剧性缺陷”（Tragic Flaw），如古希腊悲剧人物的过度自信（Hubris），麦克白的野心，哈姆雷特的踌躇等，成为悲剧人物悲剧产生的原因。
　与西方悲剧主人公相反，中国古典悲剧的主人公大多为善良、弱小的女子。像窦娥、李香君、杜十娘等。她们没有反抗能力。这些人物往往完善地体现了中国传统伦理学的某些要求，如忠、孝、义等。软弱加上伦理观念的束缚，中国悲剧人物只能以忍耐、逆来顺受为特征。
（二）不同的悲剧理念
　　用行动来抗争是西方悲剧的实质。哈姆雷特在冲突中是积极抗争的。在这种抗争中去表现一种明知不可为而为知的英雄主义的气概，从而赢得人们的尊敬。中国悲剧原先被称为苦情戏（或称为苦戏、怨谱、哀曲），主要描写主人公的凄惨遭遇。中国的悲剧着眼于“悲”、“惨”。人们对主人公表现出的更多的是同情。
总之，西方悲剧通过矛盾冲突表现斗争双方迫害与反迫害的关系，其斗争往往旗鼓相当，难分难解，通过主人公的积极的斗争，表现其崇高的精神和品质；而中国悲剧斗争双方主要表现为迫害与被迫害的关系，主人公往往为某种传统的观念所束缚，从而导致了其悲剧命运，悲剧表现的是人物命运的悲惨。
（三）中西悲剧的结局
中西悲剧的结局也有着根本的区别。
西方悲剧的结局是英雄用生命去斗争，是冲突的白热化。与西方悲剧相反，中国悲剧往往以喜剧的形式结尾，是冲突的和解。中国悲剧的这种结局是对主人公被动受苦的肯定。王国维认为古代悲剧的“团圆之趣”充满了乐观主义精神，并且认为这种悲剧是我国所具有的民族特征，还分析了形成不同特征的原因，是因为“吾国人之精神，世间的也、乐天的也。故代表其精神之戏曲小说，无往而不著此乐观之色彩”，他还认为“如关汉卿之《窦娥冤》，纪君祥之《赵氏孤儿》……即列于世界大悲剧中，亦无愧色也。”
（四）、从悲剧的本质上讲，西方悲剧可以大致分为以下几类：命运悲剧、性格悲剧、社会悲剧、形而上学悲剧；中国悲剧几乎全是社会悲剧。
（五）、从悲剧的产生来看，中国悲剧比西方悲剧晚了近两千年。
（六）、从形式和结构上看，西方悲剧除了希腊悲剧使用歌唱外，基本上是以对白为主的话剧；而中国悲剧则以歌唱为主。
（七）、悲剧向来被誉为“崇高的诗”、“戏剧诗的最高阶段和冠冕”。无论中西的悲剧，它描写主人公或者从事高尚事业受到恶势力阻挠迫害，或者由于自身性格的片面和过错，或者遭到无法回避克服的人生困扰，虽奋力追求、艰难挣扎、拼死反抗，最终仍然别无选择地走进失败与毁灭的过程。在这种抗争过程中，中西悲剧中的主人公有着很大的不同：如西方悲剧主人公由于包含恶的情欲，故能进行绝望的反抗；中国悲剧主人公由于具备善的品质，故而充满希望的祈求。
Differences between Chinese and Western Tragedies
(A) the difference between the hero
The protagonists of the Western classical tragedies are generally strong. Such as Prometheus, Oedipus, Malo tragedy in the Faust and so on. Hamlet is a typical Western tragedy figure, he is "the eyes of the courters, the scholar's tongue / military sword, the country's expectations and flowers / romantic fashion mirror, elegant example / world-renowned center." A Caesar in the Shakespeare Caesar is also a hero of the indomitable spirit, and he believes that "intimidating my things dare to pretend to be behind me, and when they see Caesar's face, they will disappear." In the Western tragedy , Such a hero is also everywhere, all belong to such people. The ideal tragedy in Aristotle should be neither deity nor dejected, but between the two, with almost ordinary people, or better than ordinary people. This tragic character "fault" or "Tragic Flaw" (Tragic Flaw), such as the ancient Greek tragic characters of excessive self-confidence (Hubris), Macbeth's ambition, Hamlet's hesitation, become tragic characters tragedy reasons.
Contrary to the hero of the Western tragedy, the hero of the Chinese classical tragedy is mostly good, weak woman. Like Dou E, Li Xiangjun, Du Shiniang and so on. They have no resistance. These characters often reflect some of the requirements of traditional Chinese ethics, such as loyalty, filial piety, justice and so on. Weak and the shackles of ethical concepts, the tragic characters in China can only be patience, submissive characteristics.
(B) different tragic ideas
Acting with action is the essence of Western tragedy. Hamlet is actively fighting in the conflict. In this struggle to show a well-known and can not know the heroism of the spirit, so as to win people's respect. The Chinese tragedy was originally called the bitter drama (or called the bitter drama, resentment, mourning), the main description of the hero's miserable encounter. China 's tragedies focus on "sad" and "miserable". People are more sympathetic to the protagonist.
In short, the Western tragedy through the conflict between the two sides persecuted the persecution and anti-persecution, the struggle is often quite difficult, difficult to understand, through the protagonist's active struggle to show its noble spirit and quality; and the Chinese tragedy struggle mainly for persecution and Persecution of the relationship, the hero is often bound by a certain traditional concept, which led to its tragic fate, tragic performance is the fate of the tragic character.
(C) the end of the tragedy of Chinese and Western
The outcome of the tragedy between China and the West also has a fundamental difference.
The end of the tragedy of the West is that the hero struggles with life, and is the intense reaction of the conflict. Contrary to Western tragedy, Chinese tragedies often end in comic form and are reconciliation of conflict. The outcome of the Chinese tragedy is a positive affirmation of the protagonist. Wang Guowei that the ancient tragedy "reunion of interest" is full of optimism, and that this tragedy is our country has the national characteristics, but also analyzes the reasons for the formation of different characteristics, because "the spirit of my people, the world also , He also believes that "such as Guan Hanqing's" Dou E injustice ", Ji Junxiang's" orphans "... ... that is listed in the" There is no shame in the world 's great tragedy.
(4) From the nature of the tragedy, the Western tragedies can be broadly divided into the following categories: tragedy of tragedy, tragedy of tragedy, social tragedy, metaphysical tragedy; Chinese tragedy is almost all social tragedy.
(5), from the tragic point of view, the Chinese tragedy than the Western tragedy nearly two thousand years later.
(6), from the form and structure point of view, the Western tragedy in addition to the Greek tragedy to use singing, is basically a dialogue-based drama; and Chinese tragedy is singing mainly.
(7), the tragedy has always been known as the "noble poem", "the highest stage of drama and crown." Regardless of the tragedy of the West, it describes the hero or engaged in noble business by evil forces to persecute persecution, or because of their own personality one-sided and fault, or can not be avoided to overcome the troubled life, although struggling to pursue, struggling, desperate resistance, No choice into the process of failure and destruction. In this process of protest, the hero in the tragedy of Chinese and Western tragedies is very different: such as the Western tragedy hero contains evil lust, it can carry out desperate resistance; Chinese tragedy hero because of good quality, and therefore hopeful prayer.

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