When George Steiner announced The Death of Tragedy, in 1961, it was already somewhat unclear whether tragedy was said to be dead or dying, or in fact on the way to being reborn. Since then, Leo Aylen’s Greek Tragedy and the Modern World has challengingly affirmed the possibility of actual equivalents to Greek tragedy in our time. And now Raymond Williams flatly entitles his own critical diagnosis: Modern Tragedy.

These questions of course extend far beyond the theatre. Ultimately they concern the entire substance of our culture, and especially our age’s increasing estrangement from religion. For Tragedy — whether Greek, mediaeval, Elizabethan or neo-classical – has, typically, sprung from societies rooted in religion; although the greatest moments of tragic art were precisely those moments when received beliefs stood under radical historical challenge. To ask why traditional tragic forms have increasingly been abandoned in the theatre of our time is thus, to raise questions we might otherwise not even be able to formulate about our epoch’s relations to religion – and about the resources of humanist faith.

Raymond Williams’ confrontation of these questions seems to me crucial, in several ways. Unmistakably at the growing-point of humanist consciousness, his work is at once a critique of tragic theory, a socio-critical map of modern tragic literature, and a reassertion in depth of revolutionary imperatives in the face of objections to revolution truly wrestled with. Significantly, the book concludes not with any theoretical summing up but with an actual drama of revolution.