While 悲剧 (bēijù) translates directly to “tragedy,” its cultural flavor in Chinese contexts differs from the classic Western understanding. Western tragedy, stemming from Greek origins, often emphasizes the “tragic flaw” (hamartia) of a noble protagonist. The hero's own pride, ambition, or error leads to their inevitable downfall (e.g., Oedipus or Macbeth). The focus is on individual agency and internal character defects. In contrast, traditional Chinese tragedies often place greater emphasis on external forces as the cause of suffering. The protagonists are frequently victims of an unjust society, oppressive feudal norms, political corruption, or an unchangeable fate (命运 - mìngyùn). The conflict is less about an individual's flaw and more about the individual's struggle against a powerful, external system. A classic example is the folk tale of The Butterfly Lovers (梁祝 - Liáng Zhù), often considered the Chinese Romeo and Juliet. The lovers are kept apart not by a family feud alone, but by a rigid social class system and arranged marriages that they are powerless to overcome. Their tragedy highlights societal injustice rather than personal error. This reflects a more collectivist cultural perspective, where social harmony and duty can tragically conflict with individual desires.
The use of 悲剧 (bēijù) is split between formal/literary contexts and informal/everyday situations.