Albee places parentheses around the play's subtitle: "Notes toward a definition of tragedy". The original Greek meaning of the word tragedy is "goat-song".[1] The play maintains Aristotle's six elements of a tragedy in addition to the three unities.[2] The play's resemblance to a Greek tragedy continues as Greek theater is linked to Dionysus. As the god of ritual madness, he inspires ecstasy that frees his followers from fears and subverts hegemony. Bestiality is considered taboo in contemporary society. Martin's relationship with Sylvia thus defies convention. Unlike the other members in the support group, Martin does not understand why bestiality is wrong when he practices it devoid of previous trauma.
On the other hand, Stevie resembles a maenad with her increasingly frenzied actions.[3] The play also alludes to the Eumenides. Before the interview starts, Ross hears "a kind of...rushing sound...wings, or something,"[4] to which Martin replies, "It's probably the Eumenides."[4] The noise disappears and Martin corrects himself because "[the Eumenides] don't stop."[4] The allusion foreshadows Stevie's vow for vengeance, carried out to conclude the play.
The Goat is also a problem play. Albee questions, among other concepts, social morality in relation to taboos, the perception of female identity by contrasting Stevie to Sylvia, and the arbitrary nature of social standards and conventions by juxtaposing Martin's distaste for homosexuality with his bestiality.[5]
